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Full text of "The New Movie Magazine (Jan-Sep 1935)"

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CAROLE LOMBARD 



MRS. WILLIAM FOX AND $780,000,000 

-By EDWIN C. HILL 

THE MOST EXCITING STREET ON EARTH 

-By GEORGE WORTS 

LEWIS PICKS KATHARINE HEPBURN 




WHENEVER AND WHEREVER CONVENIENT 



. . . . enjoy a fresh stick of double mint gum. It immediately 
brings new life into tired eyes and starts up the circulation in 
your face. Good circulation is the very basis upon which real 
beauty is built. Buy a package of double mint. You'll like it. 



A Dcifudr&j JJo/dlnjcj 



(until she smiles) 




WHAT a heart-warming thing a lovely, swift 
little smile can be! And what a crusher of 
illusions it so often is. 

It is true that a great many men and women are, 
unfortunately, afraid to smile. Neglect of the teeth, 
neglect of the gums, neglect of that dental warning 
"pink tooth brush" have led to their own unsightly 
results. 

No one is immune from "pink tooth brush." Any 
dentist will tell you that our soft, modern foods and 
our modern habits of hurried eating and hasty brush- 
ing rob our gums of the work and stimulation they 
need for perfect health. Naturally, they grow sensi- 




tive and tender — and, sooner or later, that telltale 
"tinge of pink" appears. 

DON'T NEGLECT "PINK TOOTH BRUSH" 

And, neglected, that "tinge of pink" is often the 
preliminary to serious gum troubles, to gingivitis, 
Vincent's disease — even pyorrhea. 

Do the sensible thing — follow the advice of dental 
science. Get a tube of Ipana today. Brush your teeth 
regularly. But — care for your gums with Ipana, too. 
Each time you brush your teeth, massage a little extra 
Ipana into your lazy, tender gums. The ziratol in Ipana 
with massage helps speed circulation, aids in toning 



\ PAN A 



TOOTH PASTE 



the gums and in bringing back healthy firmness. 
Your teeth will be whiter with Ipana. Your gums 
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thing it should be! 

WHY WAIT FOR THE TRIAL TUBE? 

Use the coupon below, if you like, to bring you a 
trial tube of Ipana. But a trial tube can be, at best, 
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the full benefit of the Ipana treatment in a full- 
size tube? Buy it now — and get a full month of 
scientific dental care . . . 100 brushings . . . and a 
quick start toward firmer gums and brighter teeth. 



% 



BRISTOL-MYERS CO., Dept. Y-15 
73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH PASTE. 
Enclosed is a ?>i stamp to cover partly the cost of packing 
and mailing. 



Name- 



Street- 
City— 



.State- 



The New Movie Magazine, January, 1935 



irov ^O 10 ii 



© C1B 244056 ^jn^ 



new movie 



VOL. Xl y No. 1 • • • JANUARY 1935 

CATHERINE McNELIS, Publisher 

Frank J. McNelis, Managing Editors Bert Adler, Eastern 
Editor t Mary Marshall, Director of Home Service; 
John C. Mitchell, Western Editor ■ Hugh Ryan, Art 
Director t Verne Noll, Associate Art Director. 



A GLIMPSE AT THE EDITOR'S NOTE-BOOK 



NEW MOVIE greets you today in its new dress. 
As in the past, NEW MOVIE is today, the outstanding publication in the 
movie field. All the glamour, honest reporting of the Hollywood scene, human inter- 
est stories of the stars and the various departments, that have made this your favorite 
magazine, are in this new size, made even more interesting and readable. 

You will read your favorite authors — Elsie Janis, whose interviews with the stars 
sparkle with all the wit and good humor that have made her an international figure; 
Herb Howe, our gallant Boulevardier, who skips lightly from Hollywood to New York, 
to Paris and London, reporting his findings all along the way; Edwin C. Hill, noted com- 
mentator on the air and in the newsreels of your own theaters; the mysterious Nemo, 
who conducts our Hollywood gossip pages, and whose identity even the stars he writes 
about are unable to discover; Barbara Barry, whose vivid comments on the new films 
in the making, give you inside information about the studio lives of the stars that no 
other publication offers. 

These, and many others greet you each month from these pages. 

We are continually striving to give you the finest pictures of the stars that our 
Hollywood scouts can obtain; the best stories of the stars and what they do, written 
by the best authors obtainable. What we have done in the past, we are going to do 
even better in the future. 



NEXT month, for instance, you will read the exciting story about Ginger Rogers, as 
only Elsie Janis can tell it. When the editors of this magazine asked Elsie to write 
about the vivacious red-headed star, she wired back "But I can't see her — she's too 
busy and I never can catch up with her." To make a long story short, Ginger slipped 
off to New York for a five-day vacation between pictures, and Elsie, too, decided to 
return here for a brief visit. And you know what happened — Elsie caught up with 
Ginger — Ginger spoke freely — and NEW MOVIE has another sparkling and informa- 
tive story about one of the screen's most interesting and most rapidly ascending stars. 

Everybody came to New York this month — including our Boulevardier, Herb Howe, 
who suddenly decided that he needed a breath of the Metropolis at this time. Then he 
steps off to view the boulevards of London, Paris and Rome. So Herb will write his 
inimitable feature for the February issue from the sidewalks of New York. 

Douglas Gilbert, who is becoming well known to our vast array of readers in this, 
his third article, for NEW MOVIE, will entertain with another of his deliqhifullv an- 
alytical studies. This month, Mr. Gilbert asked Sinclair Lewis which of the Hollywood 
stars was his favorite. His choice was Katharine Hepburn and Mr. Gilbert's analysis 
of this selection will be found on page 28. 

For the February issue, Mr. Gilbert asked the same question of George Jean 
Nathan, one of the country's most noted dramatic critics. Mr. Nathan's answer will 
surprise you. 

IN February, too, you will find NEW MOVIE'S own unique feature, the forecast for 
the coming year. In this, Ramon Romero, who is rapidly becoming one of Holly- 
wood's finest writing personages, explains the various changes that have taken place 
in the ratings of the stars during the year and predicts what will happen to them in 
future months. 

Ralph Bellamy, famous in his own right as an actor, turns writer for the time and 
tells us about his pal Fredric March. And there is a great story by Charles Darnton, 
revealing a little known side of Ann Harding. Jack Jamison, who wrote the sparkling 
"Pretty Men, What Now?" several months ago, returns with another top-notch yarn 
"Why I Should Hate to Be a Movie Star." 

Then too, you will see glamorous portaits of the movie folk, specially posed for 
NEW MOVIE audiences, fashion hints from the stars, music reviews, beauty suggestions 
from Claire Trevor, pictures, gossip by the mysterious Nemo, reviews of the new films 
and a poem by Berton Braley. 

We are sure you will be pleased. 



THE BEST OF THE MONTH'S STORIES 
OF THE STARS 

That Mad Shearer! Maude Lathem 4 

The Most Exciting Street on Earth 

— George Worts 18 

Can You Buy Stardom? Dell Hogarth 20 

The Man of 84 Faces — Preston Foster 

Thornton Sargent 21 

Mrs. Fox and $780,000,000 Edwin C. Hill 22 

I Was That Way About W. C. Fields. Elsie Janis 24 

The Sweetest Love Story. . . .Whitney Williams 26 

Karloff the Uncanny Jack Jamison 27 

Sinclair Lewis Picks Hepburn. .Douglas Gilbert 28 

Grand Opera on the Screen? — William DeMille 33 

What WON'T Get You Into the Movies 

Kathryn White 35 

Portrait of a Working Girl— Madge Evans 

— Martha Ford 48 

NEWS OF THE FORTHCOMING FILMS 

What to Expect in the New Films 

— Barbara Barry 38 

NEW MOVIE'S SPECIAL DEPARTMENTS 

Hollywood Day by Day Nemo 6 

Which Type Are You? 30 

Hollywood Entertains Grace Kingsley 34 

News of the Younger Hollywood Set 40 

Phillips Holmes Orders 3 Square Meals 41 

You Tell Us 42 

Hollywood Past and Future Herb Howe 44 

Music in the Movies John Edgar Weir 46 

Diet Problems of the Stars 54 

Evelyn Venable's Hollywood Home 55 

Things for the Baby 63 

Perfumes Are Important, Says Kitty Carlisle. . 65 

The Make-Up Box 70 

COVER DESIGN BY GENE REX 



Published Monthly by TOWER MAGAZINES, Inc., 4600 Diversey 
Avenue, Chicaso, III. Executive and Editorial Offices: 55 Fifth Avenue, 
New York, N. V. . . . Home Office: 22 No. Franklin St., Wilkes-Borre! 
Pa. Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Ca\. 

Officers: Catherine McNelis, President; John P. McNelis, Vice-presi- 
dent; Theodore Alexander, Treasurer; Marie L. Featherstone, Secretary. 

R. H. Flaherty, Advertising Director; E. L. Schroeder, Eastern Adver- 
tising Manager,- S. S. Galey, Western Advertising Manager; R. M. 
Budd, Pacific Coast Representative. 

Advertising Offices: 55 Fifth Avenue, New York, N. Y. ; 919 No. 
Michigan Ave., Chicago, III.; Russ Building, San Francisco, Cal. 

Copyright, 1934 (Title Reg. U. S. Pat. Off.) by Tower Magazines, Inc., 
in the United States and Canada. Subscription price in the U. S. A., 
$1 .00 a year. 10c a copy,- in Canada, $1 .60 a year, including duty, 15c 
a copy; in foreign countries, $2.00 a year, 20c a copy. Entered as 
second class matter September 9, 1933, at the Post Office at Chicago, 
III., under the Act of March 3, 1879. Printed in U. S. A. Nothing 
that appears in THE NEW MOVIE MAGAZINE may be reprinted, 
either wholly or in part, without permission. Tower Magazines, Inc., 
assumes no responsibility for return of unsolicited manuscripts, and they 
wi I not be returned unless accompanied by stamped, self-addressed 
envelopes. Owners submitting unsolicited manuscripts assume all 
risk of their loss or damage. 



OTHER TOWER MAGAZINES - MYSTERY • TOWER RADIO • SERENADE • HOME • TINY TOWER 

NEW ISSUE ON SALE THE FIRST OF EVERY MONTH 





ONE OF THE GREAT! 



+ 




You have heard so much about it. The 
world's eagerness to see this beloved 
Charles Dickens novel on the screen will be 
amply repaid. The two years of waiting are 
at an end. Never before has any motion pic- 
ture company undertaken the gigantic task 
of bringing an adored book to life with such 
thrilling realism. 65 great screen personali- 
ties are in this pageant of humanity, adapted 
to the screen by the famed Hugh Walpole. 
The original scenes, the vivid characters, 
the imperishable story . . . they live again! 



METRO- Goldwyn - MAY E R 



Directed by GEORGE CUKOR 
Produced by DAVID O. SELZNICK 



The New Movie Magazine, January, ]935 



That Mad SHEARER/ 





Norma's "The Barretts of Wimpole Street" established an 

all-time record at the Capitol Theater in New York. 

Much of her success is due to the guiding genius of her 

husband, Irving Thalberg. 



IF Norma only knew it, she could have 
her present servants for half she is 
paying them, for nothing ever would 
entice them to leave her. The excitement 
of facing each day, never knowing what 
will happen, keeps them in a state of de- 
lighted animation. 

When Norma is going out in the evening, 
she may tell her maid she will wear her 
yellow taffeta gown, to have it pressed and 
all accessories ready. While Norma slips 
on the yellow dress, the maid is already on 
her way to the closet for the white satin. 
Before Norma gets into the white satin, 
which she surely will, the maid is racking 
her mind to think just what shoes Norma 
will wear with the blue chiffon as that will 
likely be tried on, too, before the final de- 
cision is made. 

At the time the Thalbergs decided to 
build their present, beautiful home at the 
beach, both Norma and Mr. Thalberg were 
very busy — she right in the midst of a pic- 
ture, and he burdened with many produc- 
tions. As a result, they thought least of all 
about the house. The architect was told 
the general plan, how many bedrooms, 



That's what Norma — who 
saves her dignity for the 
screen — is to her friends 

By 
MAUDE LATHEM 



baths and closets, with a few other details, 
but many items were omitted. So, when 
Norma first entered the house, she discovered 
she had a beautiful bedroom . . . but all 
doors and no windows. At least it looked 
so to her, as the French windows extended 
all the way to the floor and seemed just like 
doors. So she set about tearing the win- 
dows out and placing doors where there 
were windows and vice versa. "I felt just 
like a goldfish in a glass bowl," she said. 

But what she did in the house is nothing 
to what she does in the yard. A flower 
garden at the beach is a problem at any time, 
but Norma must have her flowers. The yard 
is not large, but always beautiful ... a lovely 
well-kept lawn, surrounded on all sides by 
bright flowers. Occasionally Mr. Thalberg 
stumbles over something at night when he 
comes across the lawn. He picks himself up 
with a smile, for well he knows that Norma 
has changed the flower beds again. Just as 
soon as the sun or ocean winds blight the 
flowers, the gardener removes the entire bed 
and immediately transplants full-grown 
blooming plants of another kind. 

"Those flowers are almost as necessary 
to me as food," she says. "As a matter of 
fact, I never think of food and sometimes 
go an entire day without realizing that I 
have missed a meal until I get a weak feel- 
ing in the pit of my stomach. On the other 
hand, every time they bring me food on the 
set, I eat it. I don't seem able to resist the 
dainty little sandwiches." 

Speaking of food reminds me of a party 
that Norma recently gave for Helen Hayes. 
As you perhaps know, Helen is one of 
Norma's very dearest friends. So when 
Helen came to the Coast, after such a suc- 
cessful engagement on Broadway, Norma 
wanted to entertain for her. First she 
planned to have a small dinner party — per- 
haps twelve. Then they could eat in the 
dining-room. After thinking more about it, 
she decided it was too bad to cheat Helen's 
many other friends out of seeing her, so 
Norma decided to have a large party. 

This meant having the dinner on the big 
porch. It is all enclosed with beautiful, 
heavy awnings so you would hardly be aware 
that you were not indoors except for the 
colorful porch furniture. But Norma 
thought it might begin to get cold later in 
the evening, so she said "I will have to build 
a fireplace on the porch today." And a fire- 
place she had ! The architect was called out 
and, inside of twenty-four hours, a huge 
fireplace was built, right on the porch, at 
the back of the chimney already in her liv- 
ing-room. And it was painted white so that 
the brick matched in with the balance of the 
chimney and guests had to look twice to dis- 
cover what it was that made the place look 
so different from (Please turn to page 52) 

The Neiv Movie Magazine, January, 1935 







Hurrell 



GENE RAYMOND 



Some people wonder why Gene Raymond is so often cast as a wealthy 
young son of a socialite family. One reason is that that's just what he is. 
His real name is Raymond Guion. His next picture will be "Behold My 
Wife," in which he will co-star with the charming Sylvia Sidney. 



The Neio Movie Magazine, January, 1935 





DAV BY DAY 



IMAGINE coming down to our daily toil 
with shirt sleeves rolled up, no tie, and 
one busted gallus, only to find the NEMO 
Nook all dressed up in futuristic furbelows 
and chromium plate. 

Eventually, we got our breath and settled 
down to tell you all about it, but that dangling 
suspender made us class conscious. For two 
hours we struggled with the old inferiority 
complex until at last, bruised and bleeding, 
we galloped home on our one-lunged motor- 
cycle, washed our neck, captured our other 

cuff link from under 
the bureau, donned a 
three-year-old "Prince 
of Wales" model and 
returned to the fold, 
determined to conduct 
ourselves in a manner 
to which we've got to 
become accustomed! 

But no foolin' . . . 
isn't this something? 
If we can just learn to 
handle a fork without 
scratching ourself to 
death, it'll be some fun ! 



Paul Ames invited half a dozen pals out to 
his house for a spaghetti feed, the other day. 

It ivas a colossal meal and, as we were all 
too overstuffed and it ivas a bit coolish to do 
anything about the bathing situation, we 
lolled around the living-room, coaxing the 
lovely June Knight to sing for us. 

Poor June, who hadn't been long out of the 
hospital, rested on a chaise longue with an 
electric pad^ on her tummy and Casanova 
NEMO sitting as close as he dared, on ac- 
count of Paul being pretty husky and that 
"certain look" in his eye, and all. 

Finally, in spite of not feeling well, June 
tossed the pad aside and obligingly rose to 
the occasion. 

Right in the middle of a beautiful song, 
NEMO began to feel uncomfortably warm, 
and not around the collar! As the song con- 
tinued, it began to get downright embarrass- 
ing, but, ahvays the gentleman, ive struggled 
to maintain a respectful attitude while the 
temperature mounted higher . . . and higher! 

Finishing the song 
on a perfect high C, 
June returned to the 
chaise longue, looked 
around perplexedly for 
a moment and then . . . 
pulled the electric pad 
from under our coat 
tails! And to ere we 
embarrassed ? 



Tt doesn't seem pos- 
sible, but Paul Lukas 






We hope Edward Everett Horton won't 
take it personally if we call this a freak 
picture. On the "Bachelor Girl" set, he is 
reflected in Ann Harding's door-mirror. 




The publicity boys would have us believe 
eight tons of books were read at M-S-M 
to make sure of the costumes and customs 
in "David Copperfield." Elizabeth Allan 
is holding them down. And at the right: 
Hugh Herbert has been swordfishing. 





Bette Davis rests between scenes of 

"Bordertown," the new Paul Muni picture in 

which Paul plays the part of a social 

climber and Bette plays opposite him. 



reported by 

NEMO 



admits that, every so often, when the yen sneaks 
up on him, he climbs in his plane and flies up 
to San Francisco for a nice, steaming-hot bowl 
of his favorite soup! 



While in London last year, Joan Bennett 
purchased a finely pedigreed Pekingese, 

but couldn't bring it 
along home with her 
because the snooty 
young canine was too 
young to leave its 
momma. 

Some time ago, Joan 
received word that her 
animated purchase was 
en route to Hollywood. 
Imagine her surprise 
when, upon opening the 
crate, she discovered that the Peke had Doubled 
and Redoubled on the way over . . . and now, 
she has the original package and two baby Pekes 
who are also too young to leave their mother! 



With the advent of her grandson's new 
baby girl, May Robson received laurels for 
being the only great-grandmother in pictures. 

The child was christened May Robson 
Gore, in honor of her illustrious ancestress, 
and, while May intends to be broad-minded 
about it, still it won't make her a bit mad if 
the child grows up with a yen for the stage. 



The Hollywood Bowl has been dragging out 
a lot of "born-to-the-purple" celebrities these 
dans. 

Even Garbo, ivho just doesn't go any place, 
donned a black wig and eased herself into one 
of the more secluded boxes to view a Shakes- 
peare presentation the other night! 

'Long about half past, one of the eagle- 
eyed photographers blinked, pinched himself, 
and . . . the rush was on! 

Climbing over the box railing, Garbo dived 
into the crowd, losing breath, aplomb, and 
her lady companion in the grand dash for 
freedom. 

In the excitement, she ran the wrong way 
and, by the time her chauffeur caught up with 
her, the gal was ga- 
lumphing doivn the 
pike, headed for Tia 
Juana! 



The dogs are cer- 
tainly having their 
day around here! Ken 
Maynard's plug-ugly 
bidl pup sits patiently 
by while his master 
makes up for work. 
When Ken has fin- 
ished, the dog con- 




The New Movie Magazine, January, 1935 




Give Hollywood one baby star and it makes 
ten. Baby Mary Jane is in "Imitation of Lite" 
and "I've Been Around," with Chester Morris. 



Pictures in the Making — 
Gossip — Doings of the Stars 
— News From AH the Sets 



tinues to sit before the mirror, absolutely re- 
fusing to budge an inch until its own nose 
has been powdered . . . and well poivdered! 



They were shooting a mystery scene at RKO. 
Thunder crashed. Lightning flashed. A black 
cat slunk across the set, pausing to yowl eerily. 

And, on the sidelines, completely surrounded 
by all manner of spookiness, John Davidson 
calmly smokes his pipe and reads ... of all 



things! 
The 




Helen Hayes visits Myrna Loy, William Powell 
and Director William K. Howard, who are 
busily at work on the "Evelyn Prentice" set. 




Mr. Gary Evan Crosby, fifteen months, an- 
nounces that his father, known to others as 
"Bing," is singing in "Here Is My Heart." 



Shakespeare! 
wind machine is turned on, rain ham- 
mers futilely against 
the windows, it would 
seem that the very 
heavens had broken 
loose. . . . 

But John reads on 
. . . and on. At peace 
with the world and 
Shakespeare! 



Over at RKO, Mary 
Carlisle was working 
like mad to get a baby blanket finished in 
time for the Frank Albertsons' new addition 
to the family. 

Overhearing an interested observer that 
she had "dropped a stitch," young Spanky 
MacFarland got down on all fours and thor- 
oughly scoured every inch of the stage 
around Mary's chair, coming up half an 
hour later to report that she musta dropped 
it in her lap, 'cause he couldn't find it! 

When Barnum & Bailey's circus came to 
town, all Hollywood turned out to pretend 
they were kids again. 

Ivan Lebedeff hung his cane on his arm and 
munched peanuts, doing pretty well by him- 
self until the show started and five or six 
acts got under way, all at once. Then it got 
too much for him, and, stowing his monocle, 
the sartorially perfect gent reached in a 
pocket and donned a pair of regulation 
"cheaters," so's not to miss anything! 



Mae Wests may come and go, but Mary 
Brian has a spot in old NEMO'S heart for- 
ever! 

Mary has one room in her home that is 
dedicated exclusive- 
ly to old romance. 
In this room, Mary 
keeps cherished me- 
mentoes of past 
"dates" . . . empty 
candy boxes, stacked 
to the ceiling in one 
corner; old dance 
programs, hung 
along the wall; long- 

( Please turn to 
page 64) 





Paramount eagerly awaits your reaction to Joe 
Penner in "College Rhythm." With him here 
is the amusing, golden-haired Lyda Roberti. 




Above, left: Tex Madsen, the world's tallest 
man, is the famed Cardiff Giant in Wally 
Beery's "The Mighty Barnum." Above, right: 
Anna May Wong is back to the American 
screen in "Limehouse Nights." 




Mr. and Mrs. Edward G. Robinson nicknamed 
their seventeen-months-old son "Manny." His 
real name, of course, is Edward G., Junior. 



The Neio Movie Magazine, January, 1935 



The 



Gibson Family 




Sally Gibson, 22 years ago when she had 
been using IVORY SOAP for 1 1 months 

WHO CAN BLAME JACK HAMILTON for 

adoring lovely Sally Gibson? 

Sally's complexion is rave-worthy. 
It's been treated to pure Ivory Soap— 
and nothing else but — ever since she 
frolicked around in shirt-and-booties. 

Sally pooh-poohs thrilling soap ad- 
vertisements that talk of wonderful in- 
gredients and beauty oils. 

Time and again Doctor MacRae has 
told her, "Soaps can't feed your skin 
with magic oils or ingredients. The 
smoothness and fine texture of your 
skin depend largely upon thorough, 
gentle cleansing. Use IVORY, it's the 
best soap for sensitive skins." 

IVORY SOAP, pure enough for a baby's 
skin, will keep your complexion 
smooth and fine-pored, too. 




SALLY GIBSON TODAY. Her skin can stand baby-clear, baby-smooth complexion with 

a "close-up" because it still has that smooth 

"Ivory-baby" look. You too, can win that IVORY SOAP • • • 99 44 /ioo °/o PURE 




"AH SAYS TO MAHSELF," says Theophilus ("Awful" for short). 
"Ah says— Mr. Gibson, he madder dan a wet rooster if he have to 
use dat smelly soap of Mr. Bobby's— so ah brung some Ivory up." 
"O.K., 'Awful'," grins Mr. Gibson. "Give me one cake of that Ivory 
—save the rest and I'll have good clean-smelling baths for months." 

PURE ODORLESS IVORY BATHS SOOTHE THE NERVES 



"CM ON, BOBBY GIBSON, help me out!" puffs the girl friend. "Has 
this sweater shrunk!" 

"Tut, tut," reproves Bobby. "Come 'round sometime, Dot, and let 
sister Sally show you how bright little girls wash their sweaters in 
cool Ivory suds. That keeps 'em right." Bobby's right, too— 

FINE STORES SAY, "PURE IVORY FLAKES FOR WOOLENS" 

The Neiv Movie Magazine, January, 1935 



Clarence Sinclair Bull 



I1EW MOVIE MACAZIIII'S 




o 



OF S T A H S 



News you have been wailing 
for! Rumors that Garbo is re- 
turning to Sweden are untrue. 
With the release of "Painted 
Veil," our lady of glamouris sign- 
ing a new, long-term contract 
and starting another picture. 




The New Movie Magazine, January, 1935 




Clarence Sinclair Bull 



ANN HARDING 

Always lovely, always serene, Ann Harding brings the peculiarly 
feminine charm that is her own to "Biography of a Bachelor 
Girl." With her are Robert Montgomery, Una Merkel and 
Edward Everett Horton, whose presence spells sheer fun. 



10 



The New Movie Magazine, January, 1935 



GARY COOPER 



The lives of a Bengal Lancer, Gary Cooper makes us believe in the 
picture by that name, are given to romance and adventure under 
sultry skies. Insert: A glimpse of the company working on location. 




William Walling Jr. 







The New Movie Magazine, January, 1985 



11 




LESLIE HOWARD 



At the risk of scaring you out of a year's growth, we print this because it is 
one of the most striking examples of modern make-up technique. Disguised 
as an old hag, in "The Scarlet Pimpernel," Mr. Howard bears but little 
resemblance to the debonair young diplomat of "British Agent," right. 



12 



The New Movie Magazine, January, 1935 




MARGARET 
SULLAVAN 

A character pose that is con- 
siderably less of a shock to 
the nerves than that on the 
facing page. Margaret Sulla- 
van takes the lead in the screen 
version of Ferenc Molnar's 
stage play, "The Good Fairy." 



Ron D. MacLean 



The New Movie Magazine, January, 1935 



13 





Alan Mowbray 



Florine McKinney 



NIGHT LIFE 

OF THE GODS 



Amusing, whimsical and utterly differ- 
ent is this mad film about statues that 
come to life with perfectly ridiculous 
consequences. Here you see the players 
as themselves, and their marble doubles. 
The caricatures are by John Decker 






«=*-"■ . *^fe;' 


Bf^v^gi 




jH 






x^iufe' 


■ ' 8 


1 

[ 


/ 1 





Phillips Smalley 



Richard Carle 





J L 
Lowell Sherman (Director) Maida Deering 





Wesley Barry 



Henry Armet+a 




14 



The New Movie Magazine, January, 1935 



MR2 



m 



m 



The picture in the making. Florine McKinney, her stone drapery turned 
into a too-scanty skirt, wins the approving glance of Director Lowell 
Sherman, seated. The smiles of Alan Mowbray and Peggy Shannon, 
supporting players, are proof of the fun everybody had making this. 






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The New Movie Magazine, January, 1935 



15 




Alan Mowbray 



NIGHT 

OF THE C 





Amusing, whimsical and 
ent is this mad film ab< 
come to life with perl 
consequences. Here you 
as themselves, and their 
The caricatures are by 



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Phillips Smalley 




Lowell Sherman (Director) 




Wesley Barry 



14 




Henry Armet+a 



The New Movie Magazine, January, lm 



■i 




Alan Mowbray 



Horine McKinney 



NIGHT LIFE 

OF THE GODS 



Amusing, whimsical and utterly differ- 
ent is this mad film about statues that 
come to life with perfectly ridiculous 
consequences. Here you see the players 
as themselves, and their marble doubles. 
The caricatures are by John Decker 




Wesley Barry 



Henry Armetta 




tj,„ xr„ i* • ■., • „ mm Tll e New Movie Magazine, January, 1935 

lne New Movie Magazine, January, J' ,a 



15 



WALLACE BEERY 



No matter how many laurels they wind around Wally's manly brow, they 
still can't give him all the praise he deserves. When better pictures are 
made he'll make them. Hot on the heels of the smash, "Viva Villa", he is 
giving us "The Mighty Barnum," a pictorial history of the famous showman. 




16 



The Neiv Movie Magazine, January, 1935 



MS 






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•* 

•• * 






DOLORES DEL RIO 

Dolores Del Rio steps from "Madame Du Barry"— there's a scene from it over 
at the left — into another tempo entirely. "In Caliente," laid in the famous 
gambling casino across the Mexican border from California, is especially 
designed to grant opportunities for her personality, a mixture of fire and ice. 



The New Movie Magazine, January, 1935 



17 



THE MOST EXCITING 
STREET ON EARTH 



Any street where human hearts are kicked around like footballs is bound 
to be wicked — but the glitter and dazzle of Hollywood Boulevard make 
us forget that, says GEORGE F. WORTS, author of novels and many scenarios 



WHEN I first saw Hollywood Boule- 
vard,, it was a leisurely, beautiful 
street, lined with pepper trees and 
graced by ranches. Twenty years ago it 
wasn't the backyard of hell and heaven. It 
was neither clamorous nor glamorous, 
though it wasn't — it never was — a hick town 
street. 

But whatever it was has been forgotten, 
wiped from the memory, steam-rollered by 
the glitter and dazzle, the clack and clatter of 
what it has become. 

It still starts in a weary meadow, but it 
now ends in a tangle of hopeless hills and 
canyons. 

It must be fully six miles long, but most 
of it is stupid city street, or risky mountain 
road, or avenue of smugly respectable homes. 
Less than a dozen blocks of Hollywood Boule- 
vard comprise the Hollywood Boulevard that 
has taken its place among the exciting 
thoroughfares of the world — Broadway, Pic- 
cadilly Circus, the Champs Elysees. Or 
name your own. 

The Hollywood Boulevard of celebrity — 
those less-than-a-dozen short blocks — is a 
sprightly metropolitan avenue on which 
satyrs prowl and strolling nymphs cause 
automobile drivers to ensnarl bumpers and 
sideswipe fenders. 

The satyrs wear — at the moment — sophis- 
ticated and calculating airs, sweaters, fancy 
scarfs about their collarless throats, no 
hats, and knife-edged trousers of pleasing 
hues, in the Clark Gable, or perhaps it is the 
Gary Cooper mode. These are Hollywood's 
boulevardiers. And the nymphs, mostly 
blondes, wear anything at all from bright 
and scanty shorts and brassieres to full 
battle regalia. 

No glimpse of Hollywood Boulevard would 
be complete without a consideration of that 
amazing hybrid, the Hollywood blonde, who 
imitates so loyally the blond star of the 
moment. 

In my brief sojourn, I have seen the 
Hollywood Boulevard blonde run the gamut 
from Greta Garbo to Jean Harlow to Mae 
West, always with a sprinkling of Connie 
Bennetts and Ann Hardings. 

Generally she has approximately a million 
dollars' worth of what the birds and the 
bee-zes sing about. 

The Hollywood blonde is really an amazing 
and singular young person. The fact is, she 
actually exists. There is, in Hollywood, a 
blonde that you see nowhere else. She has 
become as famous as her city. God knows 
what she is or what she does. She is an 
extra girl — perhaps. But Hollywood Boule- 
vard, from early morning until late at night, 
is thronged with her. Only once in a while 
do I see a redhead. She went out with Clara 



18 




Bow. But as long as there are Greta 
Garbos, Jean Harlows and Mae Wests, the 
Hollywood blonde will remain a blonde — and 
Hollywood. 

In a ten-minute walk, I will see one Mae 
West blonde per block — the large black hat, 
the high voluptuous bosom. 

But Hollywood Boulevard is not to be dis- 
missed with a sneer, a jeer, or a leer. 

There are more sides to Hollywood Boule- 
vard than there are facets on the Kohinoor. 
By day, the Boulevard is a hustling, bustling, 
crowding, clanking, honking boulevard of 
shoppers, strollers, flower-peddlers, ladies on 
the make, newsboys, ice wagons, fifteen- 
thousand-dollar limousines, street cars, movie 



cowboys, real cowboys 
and ranchers, bums, 
moochers, movie mag- 
nates, movie stars, 
young folks looking for 
adventure, old folks 
looking for the fountain 
of youth, Iowans look- 
ing for other Iowans, beauty parlor blondes, 
more blondes, roadsters and touring cars 
bristling with tennis-rackets or golf sticks, 
actors out of work, directors out of work, 
writers looking for atmosphere or. inspira- 
tion or a free meal or a drink, and girls with 
stories in their faces. There are so many of 
these girls, and you wonder about the 
stories ! 

I have been in this enchanted market-place 
only a few months on this visit: — just long 
enough to gather a few lasting impressions 
which are neither scallions to my soul nor 
orchids in my garden of memory. 

I find it easy to give Hollywood Boulevard 
a California superlative — it is the most ex- 
citing street on earth ! 

Someone once called it Wicked Boulevard. 
The name hasn't stuck, but it fits. It is 
wicked. Any street down which human 
hearts are kicked like footballs is bound to be 
wicked. Any street which inspires false 
hopes, any street which sees the corruption 
of ideals, any street on which the suicide of 
tonight goes strolling today is wicked. 

I am not moralizing. I am merely digging 
around in my mind for the facts about Holly- 
wood Boulevard. 

We go to a mountain high above the Boule- 

The New Movie Magazine, January, 1935 




Shoppers, strollers, flower- 
peddlers, newsboys, ice-wagons, 
limousines, street cars, movie cow- 
boys, real cowboys, moochers, 
magnates, movie stars, bums, 
lowans looking for other lowans, 
beauty parlor blondes, more 
blondes, roadsters, touring cars — 
Hollywood Boulevard on parade! 



DRAWINGS BY 
KEN CHAMBERLAIN 



vard on a clear night. We gaze down to 
where we know the Boulevard should be — 
and what we see is fabulous: a rope of 
sparkling diamonds, of glowing rubies and 
flashing emeralds and sapphires, though the 
predominant gems are the ruby and the dia- 
mond. At dawn, from this same exalted 
eminence, we look again — and see a sewer- 
like glimpse of rolling smudge! 

That's Hollywood Boulevard. That's what, 
in Hollywood, they call the Boulevard. There 
are many boulevards in Hollywood, but when 
people say the Boulevard, they mean only 
that one. 

You have, of course, heard Ravel's "La 
Valse." I am sure Ravel never saw Holly- 
wood. But he has, in "La Valse," caught the 
spirit of the city, of the Boulevard — its slow, 
almost furtive awakening, the gradual in- 
crease of activities, of intensity — the rau- 
cous, splendid, jarring dissonances. And 
that's Hollywood Boulevard — the Boulevard 
set to waltz time. 

It is night. Grauman's Chinese Theatre 
is putting on a World Premiere. The big 
shots will all be there. In fact, they're be- 
ginning to arrive. Searchlights on humming 
power-trucks sweep the skies and make you 
think of air raids. The sidewalks are packed 
with fans who have been waiting there since 
noon to gape at the celebs. 

A regiment of cops is on hand to hold the 
mob back and let the luminaries through. 
Perhaps Wallace Beery is at the mike, intro- 
ducing the big shots to the worshipful mob. 
Cheers go up as favorites arrive. In all your 
life you never saw such beautiful women, 
such beautifully-gowned women, or such 
handsome men. 

Sex appeal on parade ! 

Here comes a handsome, dashing fellow 
in silk topper and long tails. The charming 
creature with him is his wife. He is a well- 
known actor — a free-lance who is paid $1,000 
a week when he works. But he is improvi- 
dent. He gambles. Out of work for a week, 
he is dead broke. Tonight sees him a month 
away from his last pay check. The gas com- 

The New Movie Magazine, January, 1935 



pany has turned off the gas in his house. The 
electric company has turned off the elec- 
tricity. The water company, true to its 
word, will turn off the water tomorrow. 
Neither he nor his wife has eaten since 
yesterday morning. But here they come, 
suave and resplendent. Being so well known, 
he has passes to the opening. He pauses to 
sign a few signatures for the autograph 
hounds. He looks pale and interesting. How 
pale and interesting he looks ! 

Here comes a beautiful girl. Who is she? 
She is not quite known — not yet. She steps 
from a limousine. A handsome unknown 
escorts her. Who is she? Nobody knows or 
really cares. 

But she cares ! As the important arrivals 
go up the red carpet runner, the announcer 
calls them to the mike to say hello to the 
crowd. Will she be asked? Poised, utterly 
lovely — will she be asked? Will the an- 
nouncer recognize her? It is a terrific mo- 
ment for that ambitious young lady. 

She starts up the red runner toward the 
theater entrance. She appears elaborately 
unconcerned. Her little heart is trip ham- 
mering. Cupped in her palm is the card 
containing the little speech she will give — if 
only the announcer will recognize her! 

His alert eyes glance at her, glance away. 
She is almost at the entrance when he shouts, 
"Ah, there, Miss So-and-So ! Won't you say 
hello to the crowd?" 

Miss So-and-So falters. It equals any 
acting she does before the camera. She hesi- 
tates and charmingly accedes to his request. 
She goes to the mike, stands prettily in the 
glaring floodlight and secretly reads the 
pretty little speech from the palm of her 
hand. 

"I really hadn't expected to say anything. 
All I will say is — hello, hello everybody !" 

Prettily done. Applause. Who is she, 
anyway? Her name is murmured. She has 
neatly acquired a thousand dollars' worth of 
free publicity. 

But perhaps that isn't very exciting. Very 
well. Here's some excitement — and a note 



of mystery. Broad daylight again. High 
noon on Wicked Boulevard. A sixteen- 
cylinder Cadillac comes rioting down the 
middle of the street. It is preceded by an 
escort of six motorcycle policemen. In the 
back seat, grinning, is James Cagney, the 
lad who treats 'em rough and makes 'em like 
it, who pushes the halves of grapefruit and 
cantaloupe into their faces — and makes 'em 
sputter for more ! 

A lovely lady sits on either side of Mr. 
Cagney. The sirens shriek. The cavalcade 
passes. I see no camera truck. I am 
curious. 

My companion explains. "Oh, they al- 
ways give Cagney that motorcycle escort. 
It's to keep him out of trouble. He's such a 
hell-raiser." 

I doubted it. I still doubt it. A director 
to whom I mentioned the incident snorted. 
"Applesauce ! No star, good or troublesome, 
rates such an escort." 

"What's the answer?" 

"Hidden cameras!" 

You can't be here any length of time with- 
out forming an opinion. People ask for 
your opinion. They demand your opinion. 
What do you think about Hollywood? Few 
people really have opinions about anything. 
They are too prejudiced. Some people come 
to Hollywood thinking it is the most glorious 
place in the world. If they get the breaks, 
they keep on thinking so. Most of the people 
— the professional people — who leave Holly- 
wood have another opinion, or they wouldn't 
be leaving. Hell hath no fury like the pro- 
fessional scorned. 

I can speak with authority of the writing 
gentlemen who are lured out here by short 
but fat contracts. One, who is typical, wrote 
a good book, a somewhat highbrow novel. 
Up to that time, he never made more than 
$3,000 a year in his life. His novel wasn't 
a best seller, but it caused talk, and it prob- 
ably earned him $2,000 in royalties. He 
came to Hollywood, riding high, on a three- 
months' contract at $1,000 a week. Add it 
up on your fingers (Please turn to page 60) 



19 



M 





Do the rich society girls who 
come to Hollywood have a 
better chance than other girls? 

By DELL H OGARTH 



Eugene Robert Richee 

Winters in Paris and Summers on the 
Riviera were old stories to Kitty Carlisle. 

Virginia Peine was married to a mil- 
lionaire department-store owner. 

Connie Bennett crashed the gates with 
a cool million in her own name. 




As Mrs. Stephen Ames, 
Adrienne Ames was in- 
dependently rich. 

Eugene Robert Rickee 




Can You Buy 
STARDOM? 



DOES money make any difference? Do the 
heiresses who come to Hollywood in 
search of a film career have a better 
chance than the thousands of unknown girls who 
have nothing but determination, talent and 
beauty? Of course money makes a difference. 
So does notoriety. So does social position. It 
usually wins the first big battle of moviedom. It 
makes producers know they are alive. It sets 
them apart from the crowd. It gains for them 
an audience. It secures a screen test. 
And then? Well, consider the experi- 
ences of six well known heiresses who 
have recently embarked on a movie 
career. 

But before we turn the spotlight on 
their respective careers, let's consider 
the importance of their first victory. 
It's tremendous. So many girls flock 
to Hollywood year after year that the 
place is overrun with pulchritude and 
talent. They might as well have re- 
mained at home. The studios simply 
don't know they exist. Central Cast- 
ing, at which all extra people must 
register, is so filled up, no more regis- 
trations are accepted. It is virtually 
impossible to secure interviews with 
casting directors. Other executives 
ditto. Against this wall of indiffer- 
ence, most of the young hopefuls beat 
their little fists until they are bloody. 
Then they return home; sadder, wiser. 

The more enterprising spirits, however, face 
the problem squarely. How to set themselves 
apart from the crowd? How to make producers 
realize that here is a definite personality who 
ought to be given a chance? The things they do 
to attract notice defy enumeration. Nothing is 
overlooked. One girl joined a nudist colony. 



20 



Another, who had worn out her heart as 
well as her shoe leather in a futile endeavor 
to gain an opportunity, finally attempted 
suicide. Her picture came out in the papers. 
The reason for her desperation was plainly 
and simply told. When she recovered she 
was given a small part in a picture. This, 
then, is the first obstacle which heiresses 
overcome with comparative ease. 

Several have climbed to fame on a ladder 
of gold. Constance Bennett had a cool mil- 
lion in her own name when she came to 
Hollywood. Although she was the daughter 
of a former matinee idol, the aura of social 
position clung about her lovely blond head. 
As the wife of Phil Plant, heir to tin plate 
millions, she basked in the distinctive society 
of our illustrious first families. So when 
they were divorced, and her husband settled 
this fortune upon her, she came to Holly- 
wood as an heiress for whom money had 
no appeal. But she wanted to follow in her 
father's profession. Make good on her own. 
Win fame. 

Adrienne Ames also descended upon the 
film capitol with nothing to be gained in a 
monetary way. When she married Stephen 
Ames, the New York broker, he settled upon 
her a sum which made her financially inde- 
pendent as his wife. Her film career was an 
accident. Tiring of the endless round of 
teas, bridge parties, she went to Honolulu 
for a vacation. Returning to California, she 
decided to stop just for a few days to see 
how pictures were made. She remained for 
weeks. Wishing to be photographed by one 
of the cameramen who created art studies 
of stars, she had a series of portraits made. 
So well did she appear as a photographic 
subject that friends (Please turn to page 61) 

The New Movie Magazine, January, 1985 



THE MAN OF 84 FACES 



YOU say you don't remember, what 
he looks like. Why, it's easy 
enough to describe him! He's an 
impressive, commanding giant of a man 
— 6 feet 2, 197 pounds stripped, square 
of face, curly dark hair, ingenuous eyes, 
and a resonant bass vojce. 

But still you don't remember him? 
Ah, now we come to the reason! The 
reason is the simple one that he has, 
to date, 84 faces! 

Surely you've seen him around Holly- 
wood, or on the Metro lot, or at least 
in pictures. He towers above every- 
one. Yes, that's the fellow over there 
— without a hat, his smiling face held 
high, brown coat opening to reveal a 
white knit polo shirt, cut low across the 
broad, hairy chest. He's the chap 
Metro picked to take the place of Clark 
Gable, graduated to stardom now, as a 
dynamic leading man for their collec- 
tion of lovely feminine stars. 

But you don't remember him . . . Well, 
even his best friends go to movies and 
don't know he's in them, until they see 
his name on the title cards ! That's what 
having 84 faces does for you. 

During his theatrical career Preston 
Foster has been in twenty pictures, a 
dozen grand operas and a score of plays, 
has done every kind of role from a 
hard-boiled mugg to a high-minded 
Utopian, yet never looked the same on 
screen or still pictures. Uncanny, isn't 
it? He isn't a Lon Chaney. He's just 
a regular American youth — hearty, 
open and frank, who freely admits, "I'd 
rather be considered a good actor than 
anything I can think of." 

Perhaps that's 
why he won't feel 
terribly awed when 
he strides on the 
stage to act with the 
fascinating femi- 
nine stars. Well, 
perhaps he'll be a little 
awed, but not so much by 
them, because like lots of 
Americans he isn't ter- 
ribly awed by reputations, 
dignity, wealth or even 
queens of the movies, but 
awed more by the fact 
that he's undertaking the 
biggest assignment of his 
career. 

A man of multiple per- 
sonality, Preston Foster 
was registering elation 
when I encountered him 
on the Metro lot. He was 
happy, and readily ad- 
mitted his happiness, at 
being chosen for this 
grand opportunity out of 
the many who were tested 
for it. He couldn't very 
well deny it because that 
warm smile, the triumph- 
ant twist of his head, and 
his erect carriage were 
those of a man who's just 
done something well. 

As we strode along to a 
quiet corner of the M-G-M 
lot, I couldn't help feeling 

The New Movie Magazine, January, 1935 





w -j>» 






All the pictures on this page are of 

the same man, Preston Foster. Look 

at them — then read the story 

By 
THORNTON SARGENT 



a bit insignificant beside his imposing 
stature and evident brawn. He towers above 
any average sized man. And as for women 
— he's an evident protector type with arms 
that could easily crush the fragile Garbo 
between them. 

Yes, Preston Foster's quite an individual, 
one who would stand out anywhere, but no 
sooner were we seated than he amazed me 
by saying, "I don't want to be Preston Foster 
on the screen." 

I couldn't even express my astonishment — 
at such a man wishing to submerge his dis- 
tinctive personality. 

"You don't believe me," he laughed. 
"You're not the only one who hasn't till I ex- 
plained why. It does seem funny. But, you 
see, being Preston Foster on the screen 
means a personality type. Of course, it pays 
better. It frequently means stardom. But 
that kind of career doesn't last as long. 
You bloom overnight and fade quickly. And 
I want to be in the movies a long, long time. 

"As a matter of fact," Preston hurriedly 
explained. "I don't even know that I could 
be a personality type, or myself, if I desired. 
There's something almost weird about my 
work on the screen. I've never looked the 
same in any two pictures. I've even looked 
different in the same picture. What it is, 
or why it is that I have seemed so absolutely 



different, I can hardly explain myself." 
Before my doubts could be registered 
in words, Preston Foster had pulled a 
picture from an envelope, asking, "Do 
you remember the first picture you saw 
me in?" 

I shook my head negatively. 
"I was this tough mugg in 'Follow 
the Leader'," he said, illustrating with 
the still picture. 

I looked at the picture — then at 
Foster. Well, perhaps, there was a 
slight resemblance. 

"Who's this?" he asked about a cocky 
individual posed with Edward G. Robin- 
son in "Two Seconds." 

Under such circumstances, anyone 
would guess Foster, but not because the 
man in the picture looked like the chap 
leaning over the table. 

"And this?" he exultantly asked. 
"Don't tell me you were that guy in 
'Dr. X'," I gasped, as I looked at a 
frowsy-haired eccentric. 

"Not only weird Dr. Wells — but the 
monster as well," he insisted. 

He thumbed through others — an in- 
terne's gown and a thin mustache con- 
cealing his identity in "Life Begins," 
touseled hair and snarling lips reveal- 
ing a still different Preston Foster as 
Killer Mears in "The Last Mile," and a 
stern expression and football helmet 
bringing him forth as a different per- 
sonality as Steve in "All-American." 

"And here's a funny one," he con- 
tinued, "when I was the swimming 
champ in 'You Said a Mouthful.' Yet, 
here's a still from the same production 
in which the camera brings out a like- 
ness to Max Baer." 
So it went as I 
perused the photo- 
graphic record of his 
work — the evangelist 
in "Ladies They Talk 
About," the grumb- 
ling manager in "Elmer, 

the Great," and the suave 

politician and mayor in 

"City Hall" — always a 

twist of the lips, a light in 

the eyes, or a hairdress 

that revealed a different 

Preston Foster. 

Then came "The Man 

Who Dared" — and a veri- 
table chameleon as Foster 

interpreted the various 

phases of Mayor Cermak's 

life from the enthusiastic 

boy to the seasoned, 

worldly wise mayor. 
From Cermak he passed 

to the battered middle-aged 

barker of "Hoopla," the 

ingenuous, open-hearted 

small-town business man 

of "Sleepers East," the 

surly, sneering rat of 

"Heat Lightning," and 

finally to the opposite ex- 
treme in characterization 

when he portrayed the 

moody, idealistic Como of 

"Wharf Angel." 

"How do you do it?" I 

{Please turn to page 59) 



21 





MRS. FOX and 

$780,000,000 

By a tremendous whirl of the wheel of fate, William Fox, once head of a mighty 
film company, now returns to the industry in greater power than ever before. 
How the faith and bravery of Mrs. Eve Fox, his wife, helped him to assume 
this position is one of the most fascinating stories in all movie history 




By EDWIN C. HILL 

Famous News Commentator of the Air and Metrotone Globe-Trotter 




Hal Phvte 



Edwin C. Hil 
the author 



International 



Above, at the top of the page, is Mrs. William Fox. Due to her, 
the man who was once a poor immigrant boy is now practically the 
dictator of the motion picture industry. Directly above, William Fox 
as he looks today, perceptibly aged by his long battle in the courts. 



WILLIAM FOX believes, and quite 
sincerely, I think, that he stands 
pretty well with God. Saved from 
absolute ruin on more than one occasion by 
the miraculous appearance of vast sums of 
cash out of nowhere, he has arrived at the 
conclusion that the Lord is with him when 
he is right — which, in most cases, he holds 
himself to be. His conviction that he en- 
joys at least a defensive alliance with the 
Almighty must have been strengthened by 
the recent decision of the highest court in 
the land in refusing to review the dictum of 
the United States Circuit Court of Appeals 
which confirmed him in the exclusive own- 
ership and control of the vital patents 
covering the photo-electric process of re- 
cording sound on film. 
That decision by the Supreme Court of the United States would 
seem to elevate the pioneer motion picture producer of New York 
and Hollywood to domination of the whole motion picture world. By 
a tremendous whirl of the wheel of fate, the man who was forced 
out of the control of his own company, Fox Film Corporation, early 
in 1930, is lifted up out of the obscurity to which he had been con- 
demned to the very heart and center of motion picture production. 
If competent judges are correct he stands on top of the mountain. 
He is the Boss. All of them must go to him, Fox, if they continue 
to make pictures with sound recorded on film. This is so because the 
supreme arbiter of law and the facts in these more or less United 
States confirm him in the absolute ownership of what are known as 
the Tri-Ergon patents, German processes for photographing sound 
on motion picture film by the photo-electric method, a process essen- 
tial to the making of sound pictures and without which, indeed, they 
could not be made. 

That is the grip William Fox would seem to have on the industry, 
a grip apparently unassailable and unbreakable now that the Supreme 
Court has washed its hands of the whole bitter, involved dispute 
between Fox and his ancient enemies. And the tale of how he 
acquired those vital key patents, of how he almost let them slide 
out of his hands and was saved only by the furious interposition of 
Mrs. Fox, of how through all the buffets and vicissitudes of fortune, 
when driven to desperation and near-panic by disastrous turns in his 
affairs, he clung to them, is one of the most fascinating tales in 
motion picture history. For $60,000, a bagatelle, a handful of loose 
change to this man who dealt in millions and tens of millions, he 
acquired the monopoly, the absolute ownership of the indispensable 




The New Movie Magazine, January, 1935 



gadgets of picture-making which, if he lives 
long enough, may make him the richest man 
in the world, richer than the Maharajah of 
Hyderabad, richer than Henry Ford, richer 
than the Rockefellers. Well may he muse 
with Moliere over "the beautiful eyes of my 
cashbox." 

But, before I tell that story, a word about 
Fox himself. I have known him for a good 
many years, ever since my cub reporter days 
on the New York Sun. And then the time 
came when I went to work for him, getting 
out a newsreel, scenario editor in Holly- 
wood, assisting in production, beauty hunt- 
ing in Europe, creating the reference library 
of the Hollywood studio that once was his, 
so I think I know the man fairly well. His 
intense dynamic energy is the most arrest- 
ing thing about him — the ability to labor 
savagely and drive or inspire others to 
almost equal effort. And the second quality 
of the man is his fanatical devotion to a 
cause he thinks is just, the same burning 
fanaticism that clawed him through his long 
fight with the bankers and nearly cost him 
his life. And the third quality, as I see it, 
is real vision — the vision that enabled him 
to see a marvelous future in pictures at a 
time when not one business man in ten thou- 
sand could view them as anything but 
evanescent toys, the vision that inspired him 
to leap into sound and grab the patents I 
have been speaking of. 

Nowadays, Fox is a man of medium build, 
moderately fleshed between the days when 
he was the czar of his own company and 
hefted the scales at around a hundred and 
eighty-five and the days when they were 
stripping him, as Joseph was stripped, "of 
his coat of many colors," and he was 
worn down to a pale, haunted, phantom 
of a man, scaling under a- hundred and fifty. 
His most familiar photograph of the old days 
showed him with a dome thinly plastered 
with black hair, a close-trimmed black mus- 
tache, quick, keen, inscrutable black eyes, 
which could twinkle with fun or glare with 
rage, and a perfectly sure and confident air. 
The thin strands of hair are gone now and so 
is the black mustache. The face is thinner, 
as well as the body. But the eyes, though 
disillusioned and perhaps a trifle sad, are 
scarcely less keen and expressive, and the air 
no less assured and confident. Such is 
William Fox at the age of fifty-four or there- 
abouts, launched once more on a career of 
which the climax is scarcely predictable. 

He was born in Hungary, in the village of 
Tulchva, was brought to this country at the 
age of nine, had some schooling until he was 
eleven and then, as a mere kid, went into 
business as a sort of jack of all trades. He 
sold stove blacking in the tenement houses 
of New York's East Side. He peddled candy 
in New York's Central Park. He worked 
for a clothing firm before he was knee high 
to a duck. He went into business for him- 
self, the cloth-examining and shrinking busi- 
ness, and always he saved, saved, saved. 
Ruthless, relentless thrift— ruthless and re- 
lentless to himself — gained him the capital, 
$50,000, with which he plunged headlong 
into the amazing, glamorous industry which 
Thomas A. Edison had started with his 
kmetoscope, back in 1894. Started with a 
funny little motion picture hall in Brooklyn, 




Above: The street-urchins of New York's East 
Side were enthusiastic patrons of Fox's early 
"nickelodeons," which offered them blood- 
curdling thrillers. Right: A photograph of Mr. 
Fox in the old days. 



a "shooting gallery," as they called it, ex- 
panded the original into a chain, made 
money hand over fist and then formed his 
own production and distributing company, 
The Box Office Attractions Film Rental 
Company, years later metamorphosed into 
Fox Film Corporation. 

There is no space here to go into the tale 
of his swift rise as a producer and marketer 
of motion pictures in the old silent days; of 
his famous victory over the "film trust" ; of 
a hundred other episodes of a career which 
reads like exciting fiction. He was a human 
snowball of prosperity, rolling along, gain- 
ing in bulk with every revolution, until the 
day came when his company flag flew in 
every country of the world, when he was 
one of the four or five dominant personali- 
ties of the industry, apparently impregnable, 
even unassailable. Nor is there time or need 
to enter here into the story of the adversity 
which fell upon him, his bitter fight with the 
bankers, the automobile accident which laid 
him low in a terrific financial crisis, and of 
his final retreat from the battlefield with 
$15,000,000 in hard cash, the promise of 
$3,000,000 more and the promise also of a 
$500,000 a year salary for five years. That 
is water long over the mill, and the only 
point that need be emphasized is that Bill 
Fox was the luckiest man in the world when 
he was shoved out of his own company with 
an enormous amount of cash and no bag to 
hold. 

This story is about those patents, those 
German, tri-Ergon patents on the photo- 
electric eye which transforms sound into 
light and light into sound, those patents 
which may make Fox a billionaire in very 
truth if the light holds out to burn. It was 
in 1925 that he became intensely interested 
in sound pictures and convinced himself that 
the silent pictures were dead on their feet. 
Promptly he acquired the Case patents and 
went to work on the new idea. Then he 
heard of the German invention, the patents 
which turned out to be the biggest plum 
which ever fell into his lap. Nobody realized 
their value in those days, eight or nine years 
ago. They were a gamble out-and-out, but 
Fox has always been a gambler, a terrific 
plunger under a hunch. And it was a ter- 
rific hunch that came to him now. The first 
sound pictures were made with the silenium 
cell and were a flop. Along came three Ger- 
mans named Engl, Vogt and Massole. In 
1919 they took (Please turn to page 50) 



Directly above and below are two scenes from 

Mr. Fox's greatest silent film. "Over the Hill" 

broke hearts and box-office records. 




An early movie theater — one of the kind that 

gave the immigrant boy his start. One sign 

reads, "Only Novelties Shown Here." 




Below: The vertical lines at the film's edge con- 
stitute the sound track, worth $780,000,000. 




The New Movie Magazine, January, 1935 



23 



was that Way 
about W. C. Fields 



Romance blossoms where we least expect it. New 
Movie's own ELSIE JANIS reveals here for the first time 
what has been in her heart since the tender age of five 



I'M not going to say how long ago it was, 
on Bill's account. For myself I don't 
mind. I'm so used to dallying in Mem- 
ory Lane, embarrassing folks by remem- 
bering things that happened thirty years 
ago! Decades drip from my pen care- 
lessly; but Bill may be trying to kid 
some beautiful blond baby that life began 
when he looked into her eyes, so I'll just tell 
about what an attractive lad he was in those 
dear dateless days. "W. C. Fields" then as 
now on the programs. If he had not done 
such a great act, one 
could not be disinter- 
ested in any young man 
who starts a career with 
no front name and 
flaunting the somewhat 
intimate initials "W. C." 
Bill never knew of my 
passion for him. He 
thought I stood in the 
wings every perform- 
ance just because he did 
the best juggling act 
ever seen. He didn't 
realize that my childish 
heart was leaping about 




One of Mr. Field's favorite 
sports is hunting. In this pose, 
especially taken, at the risk of 
the photographer's life, we see 
him hunting a collar button. 




among the billiard balls which he had so 
completely under control. 

Little Elsie was, if I'm not mistaken, 
billed above W. C. Fields the first time we 
played on the same Variety program. Being 
a sort of freak child wonder she became a 
headliner practically at birth. Great artists 
stood back kindly in favor of the infant 
prodigy. Bill (he was Mr. Fields to Little 
Elsie) was already a great comic, but when 
he washed up for whatever home-work he 
was doing at the time he was a very hand- 
some young man. Tall, blonde 
and slim. The same twinkling 
blue eyes which today view his 
tremendous screen success with 
quiet humor. He still has most 
of the blond hair. We won't go 
into that slim business. Very- 
few retain a slimness after years 
of sitting on top of the world. 
The only form of exercise the top 
of the world sitters are sure to 
get is bending to take bows. Ad- 
mitted that the waistline hinge 
is no more. Comedy and pounds 
usually collaborate. 

Certainly Bill doesn't have to 
worry about his figure, in fact at 
time of going to press he doesn't 
have to worry about anything. If 
you have seen him in a film 
where he plays billiards you have 



glimpsed what was in those days the foun- 
dation of his specialty, but you may not 
have seen him hold an audience for twenty 
minutes in one long laugh without speaking 
a word, as he used to do. As a pantomimist 
he had no equal and with perhaps the ex- 
ception of Charles Chaplin I think he still 
can claim that distinction if he will. He 
won't, however, because Bill is as modest 
a "big shot" as ever wore a Maxim silencer. 

I believe my mother must have shared 
my youthful yen for "W. C. Fields. Inter- 
national Favorite." I remember distinctly 
that he had difficulty in getting off or on 
the stage without stepping past her and over 
Little Elsie. I also remember that when our 
vaudeville routes separated and I was in 
tears, Mother encouraged me by saying 
that we would surely play with Mr. Fields 
again some time. 

We never did, for as my billing grew 
so did Bill's and this happened before the 
days of all-star casts. A headliner was a 
headliner. Vaudevillians would share most 
anything with one another except "the 
billing." We watched our friend Bill as he 
soared to greater heights. Not until yes- 
terday when I went out to see him on the 
shore of the small but celebrity-bordered 
Lake Toluca did I know with what great 
interest he has followed my career. He had 
been abroad and played all over Europe 
before I ever saw anything larger than a 
lake steamer. My London and Paris debuts 
were important events to him. He had 
known the thrill that goes with the con- 
quest of foreign countries. To hear Bill tell 
of the difficulty he had in getting England 
to put his important and original initials on 
a conservative London billboard is a treat. 
They used to bill him C. W. and pretend it 
was the printer's mistake. 

I had seen Bill several times out here in 
the last few years but with the well-worn 
Hollywood slogan, "We must get together 
some time," we had parted as old friends 
do in this land of manana and movies. When 
I called him on the phone and told him I 
wanted to write a yarn about him, he 
stunned me with the information that he 
reads my New Movie articles every month. 
"So you're that guy, are you?" I said, and 
made a date. 

Toluca Lake looks better than it sounds. 
It has become very lime-lighted lately, be- 
tween Bing Crosby's twins, George Brent's 
new monoplane which hovers over it and 



Left: What the well-dressed man will wear. Below: Cutting endless tons of grass to feed his 
pet swans occupies most of his waking hours. 





24 



The New Movie Magazine, January, 1935 




A favorite pose. Sparkling with energy, on his toes to please, the per- 
fect host, here is how his friends 'find Mr. Fields when they come to call. 



Bill's motor "trailer" which sits in his 
front yard shouting "Welcome!" Toluca 
hasn't been out of the local papers for 
months. It boasts of a lovely golf course 
on one side and a lot of bad golf players on 
the other. Bing does not live right on the 
lake, so that makes him an exception, if 
the fact that he refused to have his ap- 
pendix out because he was "breaking under 
eighty" has not already done so. 

Toluca is very small, very silvered, be- 
willowed and looks like most any neck of 
the woods but California. Bill rushed me 
through the house and out on to the front 
lawn where a giant oak spreads over the 
flagged patio with a sort of "Bring on your 
skinny palm trees" expression in its deep 
green leaves. He rushed me so directly and 
swiftly that I sort of suspect the blond 
baby I spoke of earlier might have been 
lurking in the background, if baby blondes 
ever do retreat to backgrounds. Such being 



the case she had a good long lurk. Bill and 
I retrospected for two solid hours. 

Accustomed as he is to success, Bill still 
can't believe that he is really living the 
dream that was always his. To have his 
own home in California! His dream has 
come true with de luxe knobs on it. Bill 
has traveled constantly since he started in 
summer park vaudeville at five dollars a 
week. From there around the world twice, 
juggling his way through all countries. It 
was due to this "Be a juggler and see the 
world" complex that he became a silent 
comedian. In his early days he talked when- 
ever anyone would permit him to do so and 
often when they would not. With a taste 
of world-wide success he returned to 
America, smacking his lips in the anticipa- 
tion of more travels. He was so afraid that 
the visiting foreign agents wouldn't book 
him if he talked that he played dumb for 
years. (Please turn to page 58) 





Above: The perfect host says good-bye to a neigh- 
bor who has just said something nasty about that 
borrowed lawn-mower. Left: While here— all kid- 
ding aside — is Elsie's secret passion as he really is, 
in the charming living-room of his Hollywood home. 



The New Movie Magazine, January, 1935 



25 



The Sweetest Love Story 



By 

WHITNEY 
WILLIAMS 



Jean Parker's rise to screen 
fame has been truly mete- 
oric — the fastest Hollywood 
has known. And for very 
good reasons, too! 





— you have ever read, is this one of little 
Jean Parker and the boy she loves 



T; 



HE friendship 
of Jean Parker 
and Pancho 
Lucus has been 
touched up briefly, 
but never before 
has the full force 
of their love been told. In- 
deed, it remained an un- 
known quantity until Jean 
let slip the news and re- 
vealed what undoubtedly is 
the sweetest love story in 
Hollywood. 

Their romance started 
when both were freshmen in 
the John Muir High School 
of Pasadena. Long before 
they spoke their first words, 
however, Jean had fallen in 
love with this Pancho from 
afar. Pancho, even as a first- 
year student, ranked high in 
athletics and all campus ac- 
tivities ... he also had an 
eagle eye, and he singled 
Jean out from the crowd, al- 
though she didn't know this 
until later. 

Now, Jean, you must 
know, is the very soul of 
romance. She is the old- 
fashioned girl who dreams 
of story-book heroes and 
whose thoughts are tender 
and sweet. Imagination rules 
her world. 

"I have found my knight 
in shining armor," she told 
me, simply, naively, when I 
questioned her about her 
romance, "my Armand, of 
whom my teacher used to 
tell me and whom I would 
see in fancy." She referred 

You do not have to be told 

what picture the scene below 

is from — "Little Women," 

with Jean as Beth. 



to the story of "Armand and Antoinette." "I 
found him among those boys and girls I went 
to school with every day, and he lived up to 
every qualification my knight in fiction pos- 
sessed." 

Her knight was Pancho, and ere long they 
met at parties, class meetings, on the 
campus. Drawn together by some subtle, 
mysterious force, more than two years 
elapsed before they finally looked into each 
other's eyes and confessed their love. 

No ordinary boy-and-girl affair of the 
heart, was this love of Jean's and Pancho's. 
Far from being flippant, momentary, it 
grew . . . grew, until today it is deeper, more 
rapturous than ever, absorbing them com- 
pletely. A glowing light shines in Jean's 
eyes as she dwells on the subject. 

"We're not even engaged," she says, "but 
there's plenty of time for that. Each of us 
thinks we're much too young and inexperi- 
enced now ever to consider such an im- 
portant step . . . but we've told each other of 
our devotion and hopes for the future. For 
the time being, we're content to go on as we 
are. 

"We shall not marry until we can really 
devote ourselves to living our own lives. 
We're both young — only eighteen — and 
there's so much each of us has to do. Pancho 
has his own career to think of . . . he's just 
starting, you know . . . and I have my own 
work. You can't successfully combine being 
a wife and actress at the same time. So we 
are waiting until some time later when each 
of us is more firmly established. 

"I wonder sometimes how Hollywood takes 
our romance. I wonder if people really un- 
derstand just how deeply we feel. We love 
each other so devotedly, our relationship is 
so sweet and there is only brightness and 
light for the future that it may be somewhat 
difficult to comprehend. Neither of us, 
though, has' set any definite date for an un- 
derstanding, for a certain course of action 
... we are living the present with a very 
full sense of anticipation that is completely 
satisfying now. 

"Pancho and I first avowed our feelings 
toward each other a year ago last March, at 
a class dance. We slipped away into the 
garden to be alone, and there, in the moon- 
light — it was a very beautiful night, I re- 
member, warm and balmy, and Spring filled 
the air — we changed from two gay children 
to a deadly serious boy and girl. We ad- 
mitted what each of us had known for nearly 
two years, yet had never spoken ... we were 
in love. 

"Up until that moment, we had smiled at 
each other, waved across the campus, Pancho 
always had managed to dance at least one 
dance with me at every party we attended 
. . . but we had never permitted ourselves a 
confession. Why, we had never even had a 
date. Of course, that evening in March, 
both our lives changed." 

There is something so genuinely sincere, 
so trusting, so fine and sweet in this love 
of Jean's that it is expressive of her entire 
nature. Hers has not been the happy ex- 
istence that most {Please turn to page 56) 



26 



The New Movie Magazine, January, 1935 





In the ghostly "Old Dark House." 



■ V. 9H 

His pain-seamed face lent itself to "The Mummy's" make-up 



In England they called him "The Ghoul." 



KARLOFF 

THE UNCANNY 

Fame came to Boris Karloff 
— but his path was weird, 
cruel, a torment to his soul 



By JACK JAMISON 



THE thing that reached out and got hold of all of us, 
the first time we ever saw Boris Karloff in a picture, 
was what we saw in his face. It isn't enough to call 
it personality, or even a personality. If ever a face 
showed a man's history, his whole experience, everything 
that he has gone through, that face is Boris' ! 

Pass over the fact that he is a fine actor. Everybody 
knows that what counts on the screen isn't acting so much 
as what we see, with our inner vision, in the actor as a 
person. And people go out of the theater, after they have 
seen Karloff, saying, with a little shudder: "That man 
must have gone through hell !" 

He has. 

The producers know it — or, if they don't know it, they 
feel it; they see in his face just what we do. That is why 
they give him the roles they do, from the hideous creature 
he played in "The Mummy" or his 
role in "The Lost Patrol," where, a 
British cavalryman gone insane on 
religion, he walked out over the 
desert dunes clothed in rags, carry- 
ing a flimsy cross made of saplings, 
to convert the Arabs who promptly 
sent him crumpling into the sand 
with their rifle bullets. 

Those deep-cut lines of bitter- 
ness in Boris' face are there with 
good reason. Boris knows all 
there is to know of bitterness. 
Such bitterness that he can say. 
"In a few years I will be fifty years 
old. I have been what the world 
calls a success for only these last 
five or six years. I dwell on these 
six years, and on the years still left 
for me, however few they may be, 
and try to forget the lean, empty 
years. I work in my garden, I 
swim in my pool — and I look at 
tomorrow." It is a tired man who 
says that ; a man tired by a long, a 
life-long and wearisome journey 
through tragic circumstance. 

Fifty years, to know happiness ! 

Boris was born in Dulwich, a 
suburb of London, in 1887, the 
youngest (Please turn to page 50) 

The Netv Movie Magazine, January, 19S5 




Many years, it has taken this man to find happiness. But at last he finds 
it, in his home and his wife, with whom he is pictured here at the left. 



27 




INCLAIR 



Douglas Gilbert, a personal 
friend of the famous novelist 
who won the Nobel Prize in 
Literature, compares him with 
the star of his choice in this 
keenly analytical article. Does 
Sinclair Lewis choose Katharine 
Hepburn as the finest star be- 
cause she is his spiritual twin? 



By 

DOUGLAS 

GILBERT 



In Sir James Barrie's whimsical "Little Minister," Katharine reaches new heights. 



. Again, in "The Little Minister." 



THE great American three-ringed cir- 
cus has been the interest of Sinclair 
Lewis. He has paid little attention, 
beyond endorsing its checks, to Hollywood's 
show or its artists. Now it can be printed 
that Mr. Lewis chooses as the finest artist 
of the American screen — Katharine Hep- 
burn. This is more than news — it is a piece 
for the NEW New Movie. 

Here is his reason for selecting Miss Hep- 
burn: "She has rhythm, she moves, there is 
a mobility about her that is as constant as 
the flow of a river. She has poise that is 
arresting. She is never, as so many of the 
screen stars are, static." 

Frankly, I was astonished at his choice. 
The lean and leggy Kate never meant any 
more to me than a forehead (like a pros- 
cenium) , a mouth and a pair of stilts. But 
she is Mr. Lewis' screen girl and that's some- 
thing. Let's see if we can find what that 
something is. 

Now Mr. Lewis is America's best known, 
if you will not admit (as I do), greatest 



author, and a pageant of women have 
crossed his pages leaping out at you, say, 
with all the vitality of Ann Vickers. Maybe 
this is the tie-up, the reason for his choice, 
for Miss Hepburn has vitality, albeit of the 
shot-in-the-arm kind. 

I will not admit, however, that it is the 
real reason; to determine that you have to 
consider factors in the characteristics of 
both. Let's run the pair of them down and 
see how closely Tomboy Katie, of Hartford, 
compares with the gangling, explosive "Red" 
of Sauk Center. 

Consider Kate's career. Does she really 
mean, actually deserve, the box-office plaudits 
she has won ? Does she merit the distinction 
Mr. Lewis has laid on her towseled head? 
Only a few years ago she was the leading 
door-bell ringer of Broadway, a pest to the 
casting agents and a nuisance to producers. 
She was trying to get a job — a stage-struck 
gal from Connecticut. 

Finally she landed as an understudy to 
Hope Williams — as sure an instance of cast- 



ing to type as the Broadway lads have ever 
exhibited. But Katharine's Hope never 
materialized. Miss Williams never got sick. 
And Miss Hepburn languished in the wings 
shifting her shoulder straps in uneasy 
futility. 

I think Broadway, and of course when I 
say Broadway I mean the legitimate stage, 
was always a little frightened of her. There 
is a neurotic stimulation about her that is 
incoherently violent. She is a network of 
haywires, livid as a flickering Neon light 
that has something wrong with its 
gadgets. 

But she can take it. That's what the gals 
like about her, and the men too, and Mr. 
Lewis. Although I am no stickler for her 
art I salute her for her courage. The weary 
round of steps she trekked to land a part 
have been as torturing as the beatings she 
has taken from the critics. They called her 
"immature" and "over-emphatic." 

This has been her cross. She's carried it 
like a man. Last season she opened in an 



28 



The Neiv Movie Magazine, Jawiary, 19 35 



LEWIS PICKS HEPBURN 



English play called "The Lake," a social 
whoop-te-doo that was very, very British and 
that was right up the alley of the Bryn Mawr 
Katharine. It was a mess and it flopped. 
And to the credit of Katharine, who got no 
rave notices for her acting, it can be said 
she was a good deal better than her role. 

From another standpoint "The Lake" is 
frightfully important, for it justifies the red 
badge of courage I have pinned to her boyish 
form. 

This, in the event that you don't know, is 
the background of that production in so far 
as it affects Miss Hepburn. She was then, 
in Hollywood, gliding to Garbo heights as a 
box-office pay-off, an achievement won for 
her work in "Morning Glory" which 
made her. an academician; I mean 
she won the 1932 award for the best 
performance. 

What a curious position ! Virtually 
a ham on Broadway, a recognized 
star on the screen. I needn't remind 
you of the acclaim that is hers in pic- 
tures. And nobody had to remind 
the Broadway producers that here 
was a set-up to make a lot of dough. 
It was good show-business (and it 
still was justified even if "The Lake" 



. In a scene from "Christopher Strong." 



did fold), to bring back the gal who had 
flopped on Broadway (1), to give her the 
chance to justify legitimately her, if you 
will forgive me, reel life; (2) divert the 
stream of pence she was funnelling into 
picture palaces into the box-office of the 
more intimate theater. 

She had, I repeat, to justify herself. There 
is a yarn told about her; that in her state- 
room on the train, en route to Washington 
where "The Lake" was to open, she was so 
nervous she could scarcely speak above a 
whisper. The Broadway opening that fol- 
lowed must have been agony to her. Any 
"first night" in New York is no set-up, as 
every actor, however iced his arteries, will 
tell you. Many of them take a double Scotch 
and soda before their entrance. Incidentally, 
this practice used always to make the late 
David Belasco furious. He told me once 
that "only the hams need it." And he used 
to tell his company, too, often shaming them 
into denying themselves this artificial forti- 
fication. 

The New Movie Magazine, January, 1935 



Well, here was Katharine Hepburn, back 
on Broadway carrying the amazing burden 
of having to make good after all she had 
been to the picture public. And she took it 
in her stride. Even with hers, she couldn't 
leap the footlights. But, if she faltered, no 
arm had to catch her. Such fortitude does 
not appeal to Mr. Lewis alone. 

"Hollywood," she once said, "hasn't done 
a thing for me. Nor do I wish it to. What- 
ever comes to me I want to come through my 
own efforts. That attitude may seem un- 
grateful. But I don't mean it that way. 

"Just because my first appearance in 'A 
Bill of Divorcement' happened to be success- 
ful is no reason why I should kneel in thanks- 



Do you agree that "Spitfire," 
in which Miss Hepburn is pic- 
tured below, was her best role? 





giving to Hollywood." You see? Head high, 
chin up, not out. 

And then she spoiled it all. "The picture 
had John Barrymore in it. That's why it 
was successful. I just tagged along." These 
are gracious remarks. But nobody can con- 
vince me that they were uttered from the 
Hepburn heart. 

She redeemed this in her concluding re- 
marks which are Hepburn again and not 
hooey. "To me Hollywood is just another 
place of pavements, shops and people rush- 
ing like mad. I've done things for myself all 
my life. I've fought for what I wanted — 
and gotten most of the things. And I intend 
to continue doing that. I don't want Holly- 
wood's help." 

This alone would justify Mr. Lewis' ac- 
claim. 

I wonder if Miss Hepburn can offer him a 
wreath. She ought to. For I can think of 
no two celebrities whose characteristics 
merge with such delightful humanness. For 
despite Miss Hepburn's phony femininity in 
her films, she is all girl — and all youth. I 
don't see her as the blase type of the over- 
wrought neurotic in "A Bill of Divorce- 
ment." There is too much of the wood-sprite 
in Hepburn who, I like to fancy, and I fancy 




Or was it as Jo in "Little Women"? 



Mr. Lewis does also, is waiting, just 
back of the barn, for a romp through the 
fields. That's why her best role is "Spit- 
fire." And why her "Little Minister" 
provokes such a storm of controversy. 
I admire her studio for thus casting her. 
It was as brave as she is. It was diffi- 
cult to imagine her in so soft a thing 
as the subtlety of Barrie. And how 
sincerely she demonstrates that she is 
flesh as well as bone! Almost, Mr. Lewis 
has picked her for me as well as himself. 

I can well fancy her as a character in one 
of the Lewis novels. For her roots, as his, 
are deep in the soil. Always she sways like 
a stalk of corn in a wind-swept field. She 
is that strong, that fruitful. She belies, if 
you will analyze her, the perfumed pet with 
lips smeared like a red wound. Look at her, 
as I like to believe Mr. Lewis does, in the 
sun. 

This is the light of Mr. Lewis's vision. 
Show me a page of his books that are livid 
with the synthetic (Please turn to page 56) 



29 



ifll 




Measure your own charm and beauty 
with the yard stick used by famous 
directors and producers in Hollywood 



SOMEWHERE in Hollywood you have a 
double. If she doesn't resemble you 
closely enough to be taken for a twin 
sister, you and she at least have enough 
facial features, gestures or tricks of expres- 
sion in common to make your friends think 
of you when they see her picture cast on the 
screen. The chances are that this Hollywood 
double of yours not only resembles you in 
appearance but that she and you are some- 
thing alike in your tastes and disposition, 
since superficial appearance is usually a re- 
flection of innate characteristics. 

Practically every type of girl, European 
or American, is represented among the stars 
and featured players in Hollywood. In fact, 
producers and casting directors are inclined 
to select talent on the basis of type as much 
as through the consideration of sheer beauty 
and loveliness. Hence the clever actress, 
with her eye on Hollywood stardom, strives 
to accentuate and define — through dress, cos- 
metics, make-up and manners — the charac- 
teristics of the type to which she belongs. 
If she is one of the smart sophisticated type, 
she does not make the mistake of doing her 
hair like a hoyden. If she is the American 
athletic girl, she avoids wearing clothes de- 
signed for a Spanish or French siren. 

All this has given American girls and 
women a new measuring stick for feminine 
charm and appeal. It has widened our vision 
and made beauty a much more interesting 
thing to talk about than when it was mea- 
sured by a single standard. 

In the time and place where the tall blonde 
was the ideal of beauty, the petite brunette 
didn't have a chance. At the time when only 
frail, languorous girls were considered charm- 
ing, the athletic fresh-air girl had nothing to 
brag about but good health and a pleasant 
smile. Now every type of girl has a chance. 
The important thing to do is to learn your 
type and make the most of it, by means of 
dress, make-up and manner. Being truer 
to your type you will be truer to yourself, 
and will thus gain greater self-confidence 
and more definite charm. 

Stars and featured players in Hollywood 
can help you in this quest better than any 
other women in the world. Close study of 
your Hollywood type in motion pictures will 
be of great help in this task of self-expres- 
sion, and there is also much to be gained 



from a knowledge of how this type sister of 
yours chooses to play the role of a woman of 
type similar to her own and yours. But even 
so, the time, setting and situations of the 
picture may call for make-up, manners and 
costumes that would be out of place at 
home, or in the usual social surroundings. 

Colbert, you'll agree, is a very charming 
representative of the siren, but she is by no 
means the only example for the siren type 
of girl. There is Dolores Del Rio for a 
thoroughly Latin type of siren and Lupe 
Velez, as well as the alluring Marlene 
Dietrich, with Carole Lombard as a tall 
blond representative of the type, and Merle 
Oberon if you want a thoroughly English 
version, and the newcomer, Ketti Gallian, 
shows how provocative a French blonde 
can be. 

We all know well-dressed young women 
who in one way or another suggest Kay 
Francis, but there are dozens of other Hol- 
lywood stars from whom the sophisticated 
well-dressed woman can choose her Holly- 




A NEW SERVICE FROM HOLLY- 
WOOD FOR READERS OF NEW 
MOVIE MAGAZINE 

And now to help you, and other 
readers of New Movie Magazine, we 
have arranged to provide something 
entirely new in the way of personal 
service. Write to the Hollywood 
Type Editor, care of New Movie 
Magazine, 55 Fifth Avenue, New 
York, giving a brief description of 
yourself — your height, weight, hair 
and eye coloring — and the name of 
the star or featured player whom you 
think you most resemble. If you have 
an inexpensive photograph or snap- 
shot of yourself enclose it in your 
letter. In reply, our Hollywood beauty 
and fashion editors will give you ad- 
vice and suggestions regarding make- 
up, dress, coiffure, etc., most appropri- 
ate to the type to which you belong. 



Nttnry Carroll 




wcc&uyuJ-^ 



wood type. Norma Shearer, for instance, or 
Gloria Swanson, or Peggy Fears or Jane 
Wyatt who is defined in Hollywood as a per- 
fect metropolitan type. 

For the charming girl who inclines a little 
to the serious side, there is Helen Hayes, 
Barbara Stanwyck, Helen Twelvetrees and 
Rosemary Ames. For the athletic or out-of- 
door girls, we have stars as widely varied 
as Maureen O'Sullivan, Gloria Stuart, and 
Nancy Carroll as a perfect representative of 
the vivacious Irish type. 

Janet Gaynor heads the list for the sweet 
girlish type. Joan Crawford is the perfect 
dancing lady, Ruby Keeler is the American 
dream girl type, Alice Faye is the torch 
singer type, platinum blonde and dynamic. 
Mona Barrie is defined as the typical English 
aristocrat, while Myrna Loy is one of the 
outstanding examples of the real American 
girl. Constance Bennett is the languorous 
blonde. 

And so it goes in Hollywood where every 
star stands out as a vivid example of a 
definite type of lovely woman. 



30 



The Neiv Movie Magazine, January, 1935 




Kuy Francis Warn: 



Warner Joan Crawford 





M-O-M Alice Faye 



Universal Claudettc Colbert 



Paramount Anna Strn 



J^Jlesi, A^ae 




RKQ Constance Bennett 





- 



20th Century Mary Pick ford 



United Artists 



gsKMM&TL 



<Zyv- 



>.eSL 




The New Movie Magazine, January, 1935 



31 



Eugene Hobert Itichee 



LOVE IN 
THREE MOODS 



* -r- 






t'-r-'s 




THREE PAIRS OF PLAYERS who bring us love in three 
moods. At the top of the page, Bing Crosby and Kitty 
Carlisle typify light, frothy gaiety. You'll see them as 
a princess and a waiter in "Here Is My Heart." In the 
center are John Boles and Gloria Swanson of "Music 
in the Air" — singing stars too, but accentuating a mood 
of more serious romance. And last but not least, William 
Powell and Myrna Loy, who, by public demand, recap- 
ture the mood of "The Thin Man" in "Evelyn Prentice." 

Rvssell Ball 



32 



The New Movie Magazine, January, 1935 



New Movie proudly heralds an event in screen history 

GRAND OPERA 

With all the glorious voices of the stage 
and all the glamour of youthful picture players 





Two dramatic scenes from the experimental reel, with Henry Hull as the clown. 

It is yours. It is on its way to you. This story of how it comes 
to you is written by the man who has made it possible 

By WILLIAM DeMILLE 



Wnic World 



Mr. and Mrs. DeMille, with their daughter 
Lynn, photographed at a recent premiere. 



CLARA and I were at the opera. 
Clara, be it known, is not only my 
wife, "Miss Beranger," but my most 
trusted scenario writer. 

"Pagliacci" was drawing to its dramatic 
end and we were thrilling to its powerful 
closing measures when we had the misfor- 
tune to open our eyes. 

The illusion vanished. 

The stage was peopled with aged folk of 
waistlines not only generous but positively 
philanthropic, accompanied by a few of their 
grandchildren. In the center lay the recum- 
bent body of the slain Nedda, suggesting not 
so much the mountains of Nevada as those 
of Colorado. 

"Too bad," said Clara. 

"What is?" 

"That everything which goes into the ear 
is so lovely, while everything which goes into 
the eye is so — " 

"You promised to give up that word," I 
interrupted. 



"There are occasions, my dear," she re- 
joined sweetly, "when no other word seems 
to satisfy the soul." 

"It may be," I suggested, "that we who are 
used to the pictorial beauty of the screen, the 
intimacy of its emotion, the realism of its 
detail, find it hard to get dramatic value 
from the crude, exaggerated method of 
operatic acting." 

"Wouldn't it be great, though," she said, 
"if we could combine what grand opera has 
to give the ear with what the screen gives 
the eye?" 

"You mean put grand opera on the 
screen?" 

"Absolutely." 

"It has been tried, my poor child," I said, 
"and has demonstrated that what is merely 
a misfortune in the opera-house becomes a 
catastrophe in a close-up." 

We were walking home by now. 

"But why hasn't anyone found a way to 
do it?" she inquired. (Please turn to page 68) 



The Neiv Movie Magazine, January, 1935 



33 



HOLLYWOOD 
ENTERTAINS 

— Maintaining the vogue for 

open air rancho parties, while 

the rest of us freeze 



By GRACE KINGSLEY 





F! 



Marian Marsh and Joey Ray, 

master of ceremonies at the Ebell 

Club frolic. A new romance? 



Wide World 

Phil Regan, former New York 
policeman; now crooning in 
Warner Pictures, Dixie Lee — 
(Mrs. Birvg Crosby) — James Cag- 
ney, and Frances Shortell gath- 
ered at the Lloyd Bacon party. 





Left: Joe E. Brown was much in evidence at the Lloyd Bacon 
party and entertained with some of the stunts from his newest 
picture. Above: Mrs. Pat O'Brien and Louise Fazenda, guests 
at the same charming affair, spent the evening picking figs! 



ILM folk are all going rancher ! 
And giving parties at their 
haciendas. 
Louise Fazenda says she is pump- 
kin conscious even now. She and 
her husband, Hal Wallis, the pro- 
ducer, have bought a ranch in San 
Fernando Valley, and are building 
themselves a Mexican farmhouse. 
Polly Moran is buying a ranch out 
there. Louise says she and Hal are 
going to raise white mice on their 
ranch (but she grinned when she 
said it), and Polly says she is going 
to raise razzberries. 

"And who's going to raise Cain?" 
inquired Bing Crosby. 

"Oh, we're going to keep that ele- 
ment out," retorted Louise. 

Anyway, you would surely have 
thought you were back in those ro- 
mantic old Spanish days of Cali- 
fornia if you had been at the party 
which Director Lloyd Bacon gave 
for his wife on her birthday, at 
their San Fernando Valley ranch. 
I suppose there weren't any 
swimming pools or badminton 
courts in those days, such as the 
Bacons have. But you could gather 
fruit from the trees in the orchard, 
and dance in the big grape arbors, 
and eat Spanish food in the evening 
before a huge fire, just as we did. 

Louise Fazenda, Dixie Lee Crosby 
and Mrs. Pat O'Brien climbed a big 
old fig tree and ate figs as they sat 
on the limbs, though there were 
plenty of figs on a big plate in the 
patio. 
One of these gadget bracelets, on which 
you hang jewel-studded bangles on each suc- 
ceeding birthday or Christmas — or any other 
holiday — was Mr. Bacon's birthday present 
to his wife. She says she isn't going to let 
even St. Patrick's day go by without a pres- 
ent! Anyway, wouldn't a diamond studded 

shamrock be just too cute? 

* * * 

If you think Bing Crosby sings lullabys 
to those twins, you are mistaken. But he 
said he had to leave the party early to get 
any sleep. 

"I had thought it would be a swell idea," 
Bing explained, "to build the nursery right 
next to our bedroom. But who could antici- 
pate twins! And they yell in relays!" 

WHEN Louise Fazenda gives a birthday 
party for seventeen people she doesn't 
confine herself to one little stingy cake. She 
gives each guest a cake. 

That's what she did the night she enter- 
tained all the people who had had birthdays 
during the month. And each cake had its 
full quota of candles, too. Among those 
whose natal days occurred during said 
month, and who helped celebrate, were Hal 
Wallis, the producer, Louise's husband ; Mrs. 
Lloyd Bacon, Claudette Colbert, Mrs. Mer- 
vyn LeRoy, Ricardo Cortez, Robert Kane, 
Mrs. Lionel Atwill, Mrs. Raoul Walsh, 
Harry Joe Brown, Margaret Lindsay and 
Jean Hersholt. 

MR. AND MRS HARRY LACHMAN 
have a warm spot in their hearts for 
young romance. 

They proved it by giving a party in honor 
of Frank Lawton and Evelyn Laye, Jean- 
ette MacDonald and Robert Ritchie, and 
Elizabeth Allan and her husband, Bill 
O'Brien, who was leaving at once for Lon- 
don after a visit to his wife. 

The Lachmans had known Frank and 
Evelyn in London, (Please turn to page 67) 



34 



The New Movie Magazine, January, 1935 



STRAIGHT FROM RKO'S CASTING DIRECTOR COMES THIS NEWS OF 

What WONT Get You 

into the Movies 

KATHRYN WHITE, ace writer, dares to smash the bunk 
about "studio requirements/ 7 The truth will startle you 



IF Janet Gaynor were an "unknown," she 
couldn't walk into a single casting office 
in Hollywood today, and get a job ! — not 
even a day's work as an extra. . . . ! 

If George Raft were next in line, behind 
Janet, the casting director'd laugh at him. 

"You haven't got a chance of getting into 
pictures," the director'd tell him. "You're 
too much of a runt. Grow half a foot and 
maybe you could get by as an extra." 

Gary Cooper'd show up, and the casting 
director'd wave him wearily away. "Too 
tall an' too skinny, an' besides, y'look like a 
hick-town drugstore cowboy. We want so- 
phistication." 

Jean Harlow'd appear, and the casting 
director'd look with interest at her physical 



qualifications. Then she'd say something 
and the casting director would sigh and say : 
"Nope. Not with THAT voice !" 

Mae West would undulate up to him next, 
and the casting director wouldn't give her 
a second look. "Baby," he'd inform her, 
"you've got about twenty pounds too much 
beef ! Move on !" 

And if Katharine Hepburn should burst in 
on him, he'd scream, "Take her away ! Take 
her away! She hasn't got a single thing it 
takes !" 

AND all of that (those samples are only a 
few of the possible scores) goes to show 
what? — well, principally, two points: 

First — Success for any unknown trying to 



crash pictures today is as remote as the 
poles. 

Second — Because of the cast-iron casting 
system which is rigidly in force in Holly- 
wood today, there are unquestionably many 
Mae Wests, many would-be Hepburns, many 
possible box-office successes like Gaynor, 
many potentially great screen stars actually 
trying to get a chance in movies — and yet 
you'll never see them on the screen, because 
they can't get by the casting office MUSTS 
and MUSTNTS. . . . ! 

Of those MUSTS and MUSTN'TS, here 
are the details. And, if you've ever had any 
dream of trying to get into pictures — if 
you've thrilled at being told you're a "second 
Gaynor" or {Please turn to page 57) 



IF YOU LOOK LIKE ONE OF THESE 








Ann Dvorak 



John Boles 



Mae West 



Gary Cooper 



STAY AWAY FROM HOLLYWOOD! 






Janet Gaynor George Raft 

The New Movie Magazine, January, 1935 



Jean Harlow 





Miriam Hopkins 



35 



** 



Movie Highlights of the Year 



JANUARY 



MON- TUE- WED- Hlfl 




2U1 

/C A 4 



36 



The New Movie Magazine, January, 1935 



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The New Movie Magazine, January, 1935 



37' 






WHAT TO EXPECT IN 

THE NEW FILMS 




THE MIGHTY 
BARNUM 

• 
UNITED ARTISTS 



"The Little Minister" was well-known to your father 

and mother, with its tale of a girl and a young 

parson in old Scotland. 



PLENTY doing around the studio lots 
this month. Ye olde reportere is on the 
verge of writer's cramp and athlete's 
foot from trekking hither and yon, making 
jittery jots on the latest studio activities. 
Not good, but still ... St. Vitus dance and 
two broken legs would be worse. 

On the "Mighty Bar- 
num" set, we snuck up on 
a tete-a-tete between Wal- 
lace Beery, who plays 
B a mum , and Joe 
Schenck, financial backer of the enterprise. 
Expecting to hear a hefty dissertation on 
over-head, schedule, and stuff, we put on 
our long, gray beard, cocked our good ear to 
starboard, and . . . what did we hear? 
Nothing any more scandalous than the rela- 
tive merits of "Rainbow" and "Endeavor" ; 
and the swell time Joe had at the real 
Barnum & Bailey circus, feeding peanuts to 
the elephants! 

While waiting for Director Walter Lang 
to call for "Action !", we wandered across the 
stage to a set that represented a nineteenth 
century "general store," with the old pickle 
barrels, cracker boxes, and all the things so 
dear to the hearts of anybody's grandpas. It 
was a grubby looking place, but the property 
man assured us that the research work on 
that particular set had been something to 
fret about, as every prune and pickle must 
be true to the period. 

Rochelle Hudson, Barnum's ward, wan- 
dered about the set in long braids and 
magenta dimity, while Janet Beecher, Bar- 
num's long-suffering wife, stepped out of 
smart drawing-room roles, long enough to 
be severe, though still charming, in cork- 
screw curls and print gingham. 

They were shooting the scene where Janet 
discovers that her no-good husband has 
taken the $250.00 she gave him for a ticket 
back home and {Please turn to page 71) 



Comedies, tragedies, mysteries, romance, — 

how to pick the show you want to see is 

always a problem. A glance at New Movie's 

list will solve it for you 

By BARBARA BARRY 





Nancy Carroll, a prizefighter, a 

rival, and a crime that might be 

committed but isn't, make up the 

tricky "Jealousy." 



"It's a Gift" offers W. C. Fields with old tricks 
and new, really funny dialogue, and a story 
about a Hoboken family making a cross-con- 
tinental tour in an automobile. 









L4^Si 


Jf % 
m. 


mJ 


%r 


t 





"Concealment," with Barbara Stanwyck and 
Warren William, is a tangle of politics and mystery, 
•vhile (above, right) Steffi Duna and Regis Toomey 
~«~ "Girl of the Islands." 



off 



er 



Above: Edward Ellis, 
Paul Kelly and Ed- 
ward Arnold in "The 
President Vanishes." 



Below: Claude 
Rains and Lionel At- 
will in a scene from 
"The Man Who Re- 
claimed His Head." 






38 



Above: Paul 
Muni, in "Bor- 
dertown," is a 
Mexican trying 
to change his 
nationality. 



Francis Lederer is an immigrant, Ginger Rogers is 

a chorus-girl with a newsboy brother. "Romance 

in Manhattan" is tearful. 

The New Movie Magazine, January, 1935 




The picture George M. Cohan 

made in Hollywood was a failure, 

but it wasn't his fault. 





Cohan does a little bit of clowning between fakes on 

"Gambling," for Dorothy Burgess, Director Rowland V. 

Lee, and the vivacious Wynne Gibson. 



Left: Dorothy Burgess steps into a close-up with Broad- 
way's own "song-and-dance man," who has been called the 
theater's most gifted jack-of-all-trades. 



Dancer, playwright, actor, song-writer, million- 
aire, Cohan is not too proud to lend a helping 
hand with a curling-iron. 



WILL THE STARS COME TO NEW YORK? 




Talent of all kinds is plentiful in the 

East. One player in "Once in a Blue 

Moon" is the rotund Nikita Balieff, of 

the famous Russian Ballet. 



Right: Jimmy Savo, whom the picture 
stars, also failed in Hollywood, though 
his fame in vaudeville is international. 
With him here is Whitney Bourne who 
co-stars in this production. 



The studios hinted they'd leave California if 
Upton Sinclair was elected governor. Would it 
be so awful? Take a look at these stiHs of 
pictures now shooting at the studios in the East 




The East goes in for realism. Needing gypsies 
for extras, the studio hired real ones. 




Lovely Edwina Armstrong's is a name 

you've never heard, yet she may steal 

the picture and stardom. 



The New Movie Magazine, January, 1935 



39 



News of the Younger Hollywood Set 



l OS AN GEL£S 



a,t| PORNi A 



Dear 



-py: 



'!Ja C ' rtalnl7 39 «^ ami 

$ z »<m m : nd the oid f "V*«- 



We keep our promises. The junior stars themselves 
have written this for you. The letter below is easy 
enough — but can you read the "rebus" at the left? 



u 



oeaoh the other W 㠥"ȣ,.< *h. s0 . 
5 ' 3 ° thl3 «*» m g ft, two W8 #■ •°*W*« utt town at 

«bfcL the «. Se *...(b n ff trekked 

*nd aft. 



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th- ^ * g0 ^; -•«• b.,0^, got th . fj, *— 

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have «J- 3U 

fan. .»■■•«»■• 

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aovm Broad- 



Dick Winslow, who 
wrote the puzzling 
letter at the left. 



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HENRY WILLSON, our regu- 
lar correspondent, decided to 
take a trip to New York. So, 
in his absence, his friends Dick Win- 
slow and Ben Alexander have turned 
out this column for you. Dick you 
have seen in "Flirtation Walk" and 
"There's Always Tomorrow," and 
Ben — grown up now — is the famous 
child actor of silent film days. 

The young fellows and girls re- 
ferred to by their first names in the 
letter at the left are all junior Holly- 
wood stars — Jackie Coogan, Grace 
Durkin, Clara Lou Sheridan, Gwen- 
dolyn Gilly, Robbin Ainsley, Trent 
Durkin, Frank Losee, Ida Lupino, 
Bob Hoover, and Tom Brown. 

And, here is Ben's let- 
ter: 

Dear Henry: — 
Family tradition has it 
that I have been known 
to write but one letter in 
my lifetime. With one 
possible exception (one 
day circumstances forced 
me to forge my father's 
name to a badly scribbled 
note explaining my ab- 
sence from school) I 
should say the claim is 
quite true. And, were it 
not that events here in 
Hollywood demand your 
attention, I should not 
think of spoiling so envia- 
ble a record. However, 
understanding your crav- 
ing for news, I have let 
down and will endeavor 
to satisfy your thirst with 
forty or sixty pages of 
"Who's doing what and 
where in Hollywood." 

Pal, this sudden urge of 
yours to train-hop to the 
bright-lights and ticket- 
scalpers has caused you to 
miss out on a lot of swell 
parties : Here's one that was a nifty. 
You remember Bob Hoover? Oh, of 
course you do, you know, "Scion of 
prominent Beverly Hills Family 
Grabbed for Flickers." Well, Bob 
had been planning this giddy whirl 
for some time, everything was set, 
all the gang invited, and everyone 
had set that night aside to give it 
the works, swim, eat, dance, eat 
again, etc. Now get this: The day 
before the big party, Hoover was 
coming back from Catalina in their 
boat and when he got to the landing 
forgot how to stop the thing. In- 
stead of waiting for it to run out of 
gas or something, guess what he did 
(this'll kill you Graham) he sticks 
his foot in the fly-wheel. After they 
had run the engine backwards for 
about ten minutes they finally get 
his leg out and rushed it (Bob too) 
to the hospital. The next day, Bob ly- 
ing in bed with his leg suspended 
from the ceiling, tried to phone the 
gang and call the party off, but no 
soap. We're not going to let a little 
thing like a crushed leg interfere 
with our party. We all hollered like 



blazes and he had the party. I won't 
dwell long on the party. Mr. and 
Mrs. Hoover, pinch-hitting for Bob 
as hosts, were delightful in their 
roles and completely baffled me with 
their ability to be everywhere at 
once. I have a list here of those 
present and will pick out a few 
names at random so you can see just 
what you missed. Sue Carol heads 
the stack followed by Jackie Wells — 
Helen Mack — Anita Louise and 
Tommy — Jack Coogan — Toby Wing 
(yes, that's still going)— Eric Linden 
— George Woolcott — Howard Wilson 
and Hen — Hey what's this, it says 
you were there and were the guest 
of honor too — "Honoring Mr. Henry 
Willson, Mr. Willson is leaving for 
New York tomorrow." Well, I can't 
help it. If Gwynne Pickford hadn't 
been there I might have seen you but 
as it was I didn't see any one. Fo- 
give-me. 

Arlene Judge — just say that name 
over to yourself a couple of times 
and see if it doesn't do something to 
you. It does me, makes me think of 
Coney Island — airplane time-tables — 
dough in my pocket — Harpo Marx 
as president — fun in a mad house — 
lion hunting with tennis racquets. 
There is something about Judge Jr., 
that I can never express, she looks 
always as if she were about to jump 
through a base drum, or skate 
through a church, and I wouldn't be 
a bit surprised if some day she sud- 
denly vanished into thin air. But 
enough of this, I'm sure you've gath- 
ered by now that I think she is tops. 
We collided on the street the other 
day and she announced she was about 
to go to school. After the obvious 
"Well, its about time" from me she 
explained that as a matter of fact 
she and Anita Louise, Tom Brown 
and Frank Albertson were all going 
to school together, that it was Fox's 
idea and they were calling the re- 
sult "Bachelor of Arts." For your 
information, Willson, it is John 
Erskine's latest book, and if that un- 
holy-four will stay in one place long 
enough to be photographed it should 
be a pip. 

Drove sixty miles the other day 
to watch the Paramount company 
shooting "Lives of a Bengal Lan- 
cer." On arriving, found the entire 
company pitching pennies while 
the corps of second assistants 
scoured the hills looking for Gary 
Cooper and Dick Cromwell. Cooper 
had just gotten a new high-powered 
rifle with telescopic sights. 

Now a few notes copied off my cuff 
— Polly Ann Young and Bill Bake- 
well still holding hands — The very 
newest heat wave is Judith Allen 
and Don Cook — Ginger and Lew have 
given up ping-pong for bowling — 
Please send us all a lot of postcards 
with a X marking your room then 
come on home — On second thought, 
just send the cards. 

Regards, 
Ben Alexander. 



40 



The New Movie Magazine, January, 1935 



THREE 

SQUARE 

MEALS 



FOR PHILLIPS HOLMES 





Tower Studi 



Fourteen hours of hard work 
a day in Hollywood call 
for carefully considered, well- 
balanced meals 



Breakfast at Home (8:30) 

Orange juice, grapefruit or stewed 
prunes; Cereal with cream, or bacon 
and eggs, or liver; Coffee and toast. 

Luncheon at the Studio (12 to 12:30) 

Tomato juice cocktail ; Substantial meat 
or egg dish, such as Veal Parmigiano, 
stew, hash goulash or rice with poached 
eggs ; Salad ; Coffee or tea. 

Dinner at Home (Any time from 6 to 9) 
Soup; Lamb chops, steak, potatoes, peas 
or other vegetables; Salad; Custard, 
jelly, rice pudding or other simple des- 
sert; Demi-tasse. 

Late supper (At the studio in case of late 
work) 

Substantial sandwiches — preferably 
ham and eggs — with coffee for all con- 
cerned — players and crew. 

That, briefly, is what Phillips Holmes, 
whose latest picture is Universal's "Million 
Dollar Ransom," indicated as a typical daily 
diet when working on a picture in Holly- 
wood. 

"You food writers have said a lot about 
Hollywood reducing diets," said Mr. Holmes. 



"You'd give a fairer picture of Hollywood 
if you said something about the more sub- 
stantial diet that an actor has to have if 
he wants to keep up his strength during 
the strenuous business of making a picture. 
Actually I have to eat as much as I pos- 
sibly can in order to keep from losing 
weight, and to counteract the exhausting 
effects of long hours of hard physical work 
and nervous pressure. 

"Let's say we have twenty-eight days at 
a stretch on a single picture. That means 
sometimes working seventeen or eighteen 
hours out of the twenty-four, with an aver- 
age of fourteen hours every day. It means 
getting up in time for breakfast at half- 
past eight, and the only late hours we can 
keep are the nights we work on the set. 
Just try going through that on a light diet, 
and see how you would feel." 

Luncheon, as Mr. Holmes explained, is a 
more or less regular meal, at the studio, but 
cooks in Hollywood have to be adaptable and 



(Above) Phillips Holmes, whose latest 
picture is Universal's "Million - Dollar 
Ransom." (Left center) Veal Par- 
migiano, a famous Italian dish that Mr. 
Holmes orders for luncheon or dinner. 
(Left below) Rice and poached eggs 
with grated cheese is another favorite 
dish of this popular young man. 



dinners are chosen accordingly. 
The cook can't plan a menu with 
elaborate dishes that must be 
served at a precise time. She 
must have either things that can 
be prepared and served any time, 
or things like steaks and chops 
that need very short preparation. 
"Home dinners are of course 
the best," according to Mr. 
Holmes, "at least when you are 
working. If you are able to get 
off for dinner, you don't stop to 
take all of your make-up off, and 
you may be too darn tired to take 
it off even when you get home, 
until after you have had some 
good food to restore your 
strength. There you are with your three 
square meals. That's all except for the 
sandwiches and coffee served on the set 
when you work nights." 

"What about afternoon tea?" ventured 
the food reporter. 

That reminded Mr. Holmes that when 
Lowell Sherman was working on "Night 
Life of the Gods," he used to serve tea at 
four every afternoon, and when Anna Sten 
was making "Nana" she served tea on the 
set every afternoon, with just one thimble- 
ful of rum in each cup. And that, in Mr. 
Holmes' private opinion, is quite the most 
effective picker-upper in the world for a 
tired actor. 

Try tea a la Sten some time — and if you 
would like to try two of Mr. Holmes' favor- 
ite luncheon dishes — Veal Parmigiano and 
rice with poached eggs and cheese — send 
a stamped, self addressed envelope to the 
food editor, care New Movie Magazine, 55 
Fifth Avenue, New York, N. Y. 



The New Movie Magazine, Januartj, 1935 



41 



YOU TELL US 



This department is the People's Academy. The people whose 
names appear here attend the movies. Their letters serve 
as a guide to the type of entertainment that they like or 
dislike. These opinions are their own and do not represent 
NEW MOVIE'S point of view. 



NEW MOVIE MAGAZINE pays one dollar 
for every interesting and constructive letter 
published. Address communications to A- 
Dollar-for-Your-Thoughts, NEW MOVIE 
MAGAZINE, 55 Fifth Ave., New York, N. Y. 



A Keen-Eyed Fan Laurels to recent 

British-made films. 
Productions like "The Private Life of Henry 
the Eighth," "Catherine the Great," "The 
Constant Nymph," "The. Lost Patrol," and 
"The Good Companions" will find a respon- 
sive audience in this country. 

Why not recognize the increasing prestige 
of English-made pictures and print the most 
interesting high-lights on Britain's movie 
waterfront? After all, the important thing 
is good pictures, and not whether they are 
made in Hollywood or England. But let's 
have the movie scoops on this side of the 
Atlantic too. — Vivianne Paley, 112 Monroe 
Street, New York, N. Y. 

Congratulations for having noticed it, 
Vivianne. For the first time, the British 
films are really clicking. Watch our columns 
and you'll see that we're reporting on them. 

Painted Veil I am anxiously awaiting the 
new Garbo movie, "Painted 
Veil," for many reasons. 

I have read Maugham's story and studied 
its movie possibilities, but try as I may, I 
cannot visualize Garbo as Kitty. It is a great 
pity that whoever was responsible was per- 
mitted the folly of selecting Garbo in this 
role. How very easily this can ruin a star's 
career and popularity, a fan's illusions, and 
a good story ! I would have liked such a role 
to be given Norma Shearer ; she alone would 
give it "just that touch." — Mrs. Betty 
Nemecek, 3512 E. 106th Street, Cleveland, 
Ohio. 

What do you think now that you've seen 
the picture, Betty? 

Shearer's Rebirth After seeing "Rip- 
tide" I was thoroughly 
disgusted with Norma Shearer's acting. I 



"Una Merkel has 
only to step out on 
the screen and audi- 
ences everywhere 
start to chuckle." 




"The thoroughly 
sonable James Dunn" 
gets praise for "Have 
a Heart." 



Stu Erwin's honest, 
grinning face cannot 
be seen too often on 
the screen, many of 
our readers agree. He 
is always entertaining. 



"Hats off to Tullio Car- 

minati for his splendid 

portrayal." And "Laurels to you, Grace Moore. 

You have proved conclusively that a successful 

picture doesn't have to depend on sex appeal." 



vowed then and there I'd never go to any 
more of her pictures. All the credit for act- 
ing in the picture went to Herbert Marshall 
and Robert Montgomery. 

Now I have witnessed "The Barretts of 
Wimpole Street" and to me, at least, Norma 
Shearer has been "reborn," so to speak. She 
lives like a lady and suffers like one. Per- 
haps that was what won me. However, she 
seemed born for such a role and was simply 
beautiful in (Please turn to page 62) 




"Patsy Kelly! There's 
a girl I hope we will be 
seeing more of." And Lewis Stone — "Whether 
his part is small or indifferent, there he is, al- 
ways making it count for something." 



A NEW MOVIE MAGAZINE FAN WILL PRESENT THESE AWARDS 



The People's Academy of Motion Pictures (sponsored by THE NEW MOVIE 
MAGAZINE) will present twelve gold medals for what the readers of this maga- 
zine consider to be the twelve outstanding achievements of the year 1934 in the 
films. Letters from our readers, carefully tabulated, will be the sole guides to 



these awards. It is your vote that will count in the final decision! 

Address letters to The People's Academy or Dollar Thoughts department of 
this magazine, 55 Fifth Avenue, New York, N. Y. 

Write us what you think. Medals will be given for the following: 



1. BEST ALL-AROUND FEATURE PICTURE 



2. 


BEST 


PERFORMANCE (ACTRESS) 


3. 


BEST 


PERFORMANCE (ACTOR) 


4. 


BEST 


MUSICAL PICTURE 



5. BEST HUMAN INTEREST PICTURE 



6. BEST MYSTERY PICTURE 



9. BEST SHORT REEL PICTURE 



7. BEST ROMANCE 



8. BEST COMEDY 



10. 


BEST NEWSREEL PICTURE 




11. 


BEST DIRECTION 




12. 


BEST STORY 





When all these votes are counted at the end of the year, the winners will be named. 
Then the fan whose vote most closely tallies with the final compilation will be given 
a trip to New York or Hollywood to present the awards. The stars and 
producers who win the medals will be there in person to receive them, 

Name 



wherever production schedules permit. All expenses to and from Hollywood 
or New York and entertainment, hotel accommodations, etc., will be borne 
by THE NEW MOVIE MAGAZINE. Be sure to cast your votes 
carefully and YOU MAY WIN THIS THRILLING TRIP. 



very 



Address 



42 



The Netv Movie Magazine, January, 1935 



MOVIE HEADS HAIL TOWER 




New York and Hollywood executives con- 
gratulate publisher of Tower Magazines on 
five years of clean movie magazine editing 



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Tower Magazines' perfect record of wholesome and entertaining stories 
about the movie stars and studios elicits hearty endorsement by the heads 
of the industry as these wires (taken from a hundred congratulatory ones) 
clearly show. Tower's Fifth Anniversary was also marked by a luncheon 



R«««d^*'- „. v 0R K « CCT x,.r&2SSES 1*» 

^T^- — *- T0 " B T. — 

CSPT * C0H G K^«0,S ^; uwri0SS «* « 
iCC ^ ^ THE OTHER TO^ ? TO B KBS« 

BBST WISHES EOR THEXP 
BEOi* 115 h k BARKER' 

tendered Publisher Catherine McNelis by the Associated Motion Picture 
Advertisers, at which "New Movie" policies were praised by Eddie Cantor, 
Elsie Janis, Ernst Lubitsch, Ben Hecht, Charles MacArthur, Singer Rogers, 
Claire Trevor, Louis Nizer, and W. R. Ferguson, President of the "Ampas." 



The New Movie Magazine, January, 1935 



43 



HOLLYWOOD, 

PAST and FUTURE 



Swami Howe tells the fortunes of the stars ! 



By HERB HOWE 





HERB 


RATES THEM— 13 BEST 


/"^P?sk 


ACTORS: 


ACTRESSES: 


GOING UP! 


d©0) 


W. C. Fields 


Helen Hayes 


Names in 1935 


Paul Muni 


Mae West 


Grace Moore 


Jean Hersholt 


Marjorie Rambeau 


Fred Astaire 


\1 wjs^^mTJ 


Charles Laughton 


May Robson 


Otto Kruger 


^v^jjj^^F 


Walter Connolly 


Diana Wynyard 


Francis Lederer 


Otto Kruger 


Greta Garbo 


Joan Bennett 


/>"""" ■ "N. 


James Cagney 


Katharine Hepburn 


Joe Morrison 


r \ 


Warner Oland 


Alison Skipworth 


Ketti Gallian 


\ 1 


Jack Oakie 


Beryl Mercer 


Virginia Bruce 


If J 


Leslie Howard 


Jean Harlow 


Jean Muir 


v J 


Lewis Stone 


Elizabeth Bergner 


Ginger Rogers 


X^--___^/ 


Charles Ruggles 


Ann Harding 


Robert Donat 




* 


Claudette Colbert 


And Lucienne Boyer 


Swami Howe, in his 






if she can be had. 


best turban, stares 








into the future with 


*Space being held foi 


• "World's Greatest Actor," 


temporarily in dog house 


Turpin eyes. 


for going softie in "Viva 


Villa." 




BEST CAST PERFORMANCE: Players in " 


One More River": Diana Wynyard, Frank 


Lawton, Colin Clive, 


Mrs. Pat Campbell, Jane Wyatt, Henry Stephenson, C. Aubrey Smith, 


Lionel Atwill, Alan 


Mowbray, Reginald Denny, Kathleen Howard, 


Gilbert Emery, E. E. 


Clive, Robert Greig, 


Gunnis Davis, Temple 


Piggott. 




ACE DIRECTORS: Frank Capra, George Cukor, Richard Boleslavski 


, Ernst Lubitsch, Rene 


Clair, Alexander Korda, Mervyn LeRoy, James Whale, E. H. Griffith, Sergei Eisenstein. 




H fy % 



Drawings by D. B. Holcomb 

and landed on the rocks where she remains 
as forlorn as a lighthouse. Yet she's still 
very voodoo. She beguiled me to the Sooth- 
sayer — I mean the Padre — of the Sierras. 
He was too too marvelous, she said. At first 
sight of her he had declared her an actress. 
I agreed this was too marvelous as no one 
else ever had guessed it. As I entered the 
sanctuary the Padre shot a finger at me: 
"You are going to head a big corporation." 
Well, God help the poor stockholders, was 
my own personal reaction. 



YOU can't tell fortunes in Hollywood unless you're a preacher. 
City Fathers passed an ordinance banishing seers, clair- 
voyants, palmists, witches and pedlers of goofer dust. The 
only prophet permitted is the weather man who will go on chirping 
"fair and balmy" or be deported as a Red. 

Hollywood is naturally voodoo, with Lady Luck the patron deity. 
Eventually everyone throbs to the drums of black magic. This is 
hardly appropriate to a city whose full name is Our Lady the 
Queen of the Angels. 

The civic padres explained in a cautious amendment the law does 
not pertain to religious leaders. I was not aware parsons made 
prophecies apart from the generally accepted one that Hollywood 
is going to hell. Any man in a pulpit can tell us where we're going 
but if we attempt to tell him we will go straight to the hoosegow and 
that's no prophecy, it's law. 

As a result of the prophecy prohibition, we have bootleggers of 
futures. And a great increase in religious leaders. An advertise- 
ment reads: "Rev. Flora Francis, D.D. (formerly Mme. Francis) 
Spiritual Advice daily. Business and Personal." 

Here is another : "Swami Howe (formerly the Boulevardier) 
Spiritual Dope on Stars, pasts and futures. Get a load." 



WHILE changing from cutaway to robes, I will bore you with 
an account of my visit to the Padre of 
the Sierras. In Santa Barbara this Summer 
I encountered a Wampas Baby star of the 
year 1920 or thereabouts who sort of peter- 
panned. She charted her career by stars, 
numbers, tea grounds, daisy petals and hairs 
yanked from her husband's head, now bald, 

44 



Right: Herb thinks 
1934 will long be re- 
membered as the Year 
of the Great Plague 
of Infant Prodigies. 




The Neiu Movie Magazine, January, 1935 




Looking ahead into 1935, Herb sees the future as a jumble of Folies Bergere and Gold Digger Girls with Shakespeare 
Dante and Dickens. Maybe he's just speaking as one Old Master to another — or do you think it's a nightmare? 



"As a boy you were ambitious to be a 
banker," he said. 

"A bandit," I corrected. 

"You have one fault — gambling 1 ." 

"I've played roulette." 

"Ah!" he said. 

"Ah!" I ah'd, "but that was because I was 
misled into the Monte Carlo casino by Ramon 
Novarro, the saint . . ." 

"You are an actor!" he boomed triumph- 
antly. 

"Sir, there's a limit even to what a Padre 
may . . . ." 

"Well, I want to tell you your greatest 
triumphs are yet to come. Now for your 
love life," he glanced coyly at the Wampas 
Baby with the hairless husband. "Be firm 
with her. She's a child in many ways. She 
has tantrums. When she gets rambunctious 
— know what I mean? — paddle her. Spank 
her. And now do you mind telling me your 
name?" 

"James Cagney," I said. 

The point is, if there is a point, that by 
the time I finish prophesying you, too, may 
feel you're Cagney. But remember, you 
can't sock a Swami. 

Nineteen-thirty-four will go down in Hol- 
lywood history as the year of the Great 
Purge. Stories are as sweet as new-mown 
hay. Studios ring with the laughter of in- 
fant prodigies, jungle cries of beasties and 
screams of supervisors. Leo the Lion has 
been made to purr and part his hair, an ex- 
ample to Boy Scouts. Wampas Babies. wear 
purity seals where they were tanned before. 
Norma Shearer has been saved and never 
again will get into a "Riptide." Jean Harlow 
flaps about bewilderedly wondering how she 
can change her type. Would her following fol- 



low her in black wig and corsets? Mae 
West's vehicles will bear purity plates fore 
and marriage licenses aft. George Raft has 
had an ear done over, changing his entire 
personality, he feels. Wally Beery, the man 
who bellowed like a bull, got so kittenish in 
"Viva Villa" old friends fear he'll be 
snatched by the angels as a pet for Little 
Eva up yonder. Lupe has been wrapped in 
asbestos and packed off to Europe in ex- 
change for Shakespeare, Dickens and Dante 
who are to have benefit of Hollywood super- 
vision at last. 

Thus the Old Year totters out with a kick 
in the pants. And the New Year whoopsa- 
daisies on with a battalion of child wonders 
ranging in age from two to thirteen. (Four- 
teen seems to be the dangerous age — four- 
teen and over.) 

Peering into the Past — 

"The House of Rothschild" collected the 
most green at the box office in 1934. 

Mae West was the champ lettuce picker. 

Clark Gable led the strong-arm squad 
which isn't nearly as strong as the weaker 
sex when it comes to gold digging. 

Grace Moore and Shirley Temple were the 
year's discoveries. 

Frank Capra is champeen director with 
"It Happened One Night." 

Columbia Pictures took the doughnuts 
with "It Happened One Night," "Twentieth 
Century," "One Night of Love." 

The most popular stars according to poll of 
exhibitors by the Holly- 
wood Reporter: 

Mae West, Joan Craw- 
ford, Norma Shearer, Kay 
Francis, Janet Gaynor, 
Jean Harlow, Claudette 



Colbert, Shirley Temple, Ann Harding, 
Margaret Sullavan. 

Clark Gable, Will Rogers, Wallace Beery, 
Bing Crosby, {Please turn to page 54) 



Clark Gable is 
old ice man h 
tong war with the house 
wives of America. 




The Neiv Movie Magazine, January, 1935 



45 



By 

JOHN 

EDGAR 

WEI R 




MUSIC in the MOVIES 




All you want to know 
about those grand tunes 
in this month's pictures 



LOVERS of music in the movies 
will find much to delight them 
' in several of the new pic- 
tures. 

In Bing Crosby's latest Para- 
mount production "Here Is My 
Heart," released this month, you 
will hear three songs. They are 
"June in January," "With Every 
Breath I Take," and "Love is Just 
Around the Corner." These tunes 
were fashioned especially for Bing 
by Leo Robin and Ralph Grainger, 
who gave us "Love in Bloom." In- 
cidentally, "Love in Bloom" won 
for these two hit writers the prize 
awarded by The American Society 
of Composers, Authors, and Pub- 
lishers, for the year's best song. 
Recordings of two of these songs 
are reviewed by this department. 

United Artists also retains its 
stellar position in the musical pic- 
ture field with Eddie Cantor's star- 
ring vehicle "Kid Millions." Eddie 
himself sings, among others, 
"Okay, Toots" and "When My 
Ship Comes In." And by way 
of something different revives 
"Mandy" one of his old Ziegfeld 
Follies favorites. The vocal charms 
of Ethel Merman and Ann Sothern 
further enhance this production. 

To launch Joe Penner on his first 
starring picture, "College Rhythm," 
Paramount selected the famous 
song-writing team of Gordon and 
Revel to write the musical score. 
These boys who were responsible 
for the sensational "Did You Ever 
See a Dream Walking?" have pro- 
vided a number of excellent songs, 
outstanding of which are the title 
number, "College Rhythm," and 
"Stay As Sweet As You Are." 

TN this month's selection of rec- 
■■■ ords for review, you will note 
that the numbers, for the most 
part, are fox trots of the sweet 
melodic type, in the same vein as 
the "Love Thy Neighbor" variety. 
However, one selection in waltz 








jto *& *" ! 



time makes a bid for favor. 

And now let us look at the 
records. 

The outstanding record of the 
month is, in our opinion, Richard 
Himber's recording of "June in 
January" from Bing's picture, 
"Here Is My Heart." This number 
is given first place because of the 
sheer beauty of its melody, its 
appealing lyric, Joey Nash's 
splendid vocal, and Richard Him- 
ber's excellent interpretation. The 
number, a sweet melodic type, is 
ideally suited to the suave Himber 
style. A unique harp introduction 
launches his aggregation into one 
of the outstanding arrangements 
of the month. Four fiddles lend 
distinctive charm throughout, and 
Joey Nash in the vocal does a grand 
job with an interesting lyric. 

The reverse side carries "With 
Every Breath I Take" from the 
same production. This one is also 
of the melodic type but with a more 



HITS OF THE MONTH 

Best Number 

"JUNE IN JANUARY," played by 
Richard Himber and his orches- 
tra. (Victor) 

Also Outstanding 

"OKAY TOOTS!", played by the 
Dorsey Bros, orchestra. (Decca) 

"COLLEGE RHYTHM," played by 
Jolly Coburn and his Society Or- 
chestra. (Victor) 

"HAPPINESS AHEAD," played by 
Ted Lewis and his band. (Decca) 

"FLIRTATION WALK," played by 
Eddie Duchin and his orchestra. 
(Victor) 



The charming view of a barber-shop 
duet above gives you an idea of 
how Hugh Herbert and Donald 
Woods perform in "Sweet Adeline." 
At the left are Douglass Montgom- 
ery and June Lang, the young lovers 
of "Music in the Air." 



pronounced rhythm, and Himber 
and his tunitions make the most of 
it. Again Joey Nash does the vocal 
with fine tonal shading and expres- 
sion. (Victor) 

QKAY TOOTS! (from the 
^-^ United Artists picture "Kid 
Millions" starring Eddie Cantor) 
is played by the Dorsey Brothers 
orchestra. Obviously designed for 
the familiar Cantor style, this one 
is light and rollicking. The Dorseys 
make it doubly interesting with a 
haunting three-trombone interlude 
and a sizzling bit of clarinet inter- 
polation by Jimmy Dorsey. The 
band trio puts over the vocal in 
captivating style. If you like jazz 
in the modernistic manner you'll 
go for this. 

"An Earful of Music," on the 
opposite side, is more than an 
earful the way the Dorsey brothers 
do it, and it's very danceable. Bril- 
liant brass work predominates and 
Kay Webber's swell vocal is also an 
earful. (Decca) 

"p OLLEGE RHYTHM" (from 
^ the Paramount picture of the 
same name starring Joe Penner) 
is played by Jolly Coburn and his 
society orchestra. 

It remained for Gordon and 
Revel, Hollywood's most versatile 
tunesmiths, to create something 
new in campus rhythm. This is it. 
"College Rhythm" is a clever con- 
glomeration of the fox-trot and 
rhumba, with even a touch of the 
negro spiritual. Jolly Coburn and 
his society orchestra gets every- 
thing out of it and that's plenty. 
A stirring vocal ensemble is its out- 
standing feature. 

In marked contrast, the other 
side offers "Stay As Sweet As You. 
Are," a really beautiful tune with 
a fine lyric. A perfectly blended 
saxophone section furnishes a 



charming bit of smooth and sub- 
dued harmonies. Roy Strom sings 
the vocal chorus pleasingly. 
(Victor) 

"T-JAPPINESS AHEAD," from 
■*■ Warner Bros, picture of the 
same name starring Dick Powell, 
is played by Ted Lewis and his 
band. 

Maestros come and maestros go 
but the "high-hatted tragedian of 
jazz" seems to go on forever. If 
you're a Ted Lewis fan you'll love 
this. Ted's inimitable clarinet 
playing is a standout. 

On the reverse of this platter 
Ted does nobly by "Pop! Goes 
Your Heart" from the same pic- 
ture. Although Lewis still retains 
the style of delivery that made 
him famous, his band is geared to 
the modern mood. (Decca) 

HP HE film "The Gay Divorcee" 
-*- is chock-full of tunes, and the 
best one in my estimation is Cole 
Porter's "Night and Day." This is 
carried over from the original 
stage play, and played by Eddie 
Duchin and his orchestra. Unless 
I am very much mistaken this 
identical record was turned out by 
Duchin last year, but neither the 
tune nor the record has lost any- 
thing in that space of time and 
they are both just as good as ever. 
"Speak to Me of Love" is on the 
other side. It is served up in the 
distinctive style of Eddie Duchin. 
Lew Sherwood does the vocal work. 
(Brunswick) 

"TA CUCARACHA," from the 
L> film "Viva Villa and the color 
short, "La Cucaracha," is played 
in true Latin manner by the 
Mexican Bluebird Orchestra. 
Everyone is familiar with this 
tune by this time, as it seemed to 
take the country by storm, just as 
the Peanut Vendor did a few years 
ago. 

"Pajarillo Barranqueno" is the 
mouthful on the other side. Also 
played by the Mexican Bluebird 
Orchestra and on the same order 
as the one on the preceding side. 
(Bluebird) 

DING CROSBY gives us an en- 
*-* joyable few minutes with his 
singing of "I'm Hummin', I'm 
Singin', I'm Whistlin' " from the 
picture "She Loves Me Not." I 
know that everyone who saw the 
picture will want this record for 
Bing is just as good on the wax 
as he is on the screen. Irving 
Aaronson's orchestra furnishes the 
instrumental background. 

"Give Me a Heart to Sing to" 
is on the other side. It's sung also 
by Bing Crosby with Irving 
Aaronson's orchestra, furnishing 
the background.' (Brunswick) 

"TF I HAD A MILLION DOL- 
1 LARS" (from the Reliance 
picture, "Transatlantic Merry-Go- 
Round,") is played by Richard 
Himber and his orchestra. 

Dick Himber returns this time 
with a fine recording of what may 
be one of the season's biggest 
song hits. As in his recording re- 
viewed above, brilliant brass and 
string ensembles are featured. Joey 
Nash again does the vocal. The 
reverse side offers the popular 
"Stars Fell on Alabama." A sub- 
tone clarinet offers a striking con- 
trast playing the melody against 
a background furnished by the 
entire ensemble. Vocal chorus by 
Joey Nash. (Victor). 



4G 



The Ncio Movie Magazine, January, 1935 



Your House and Your Health 




"Come along. You and I are 
going to inspect this house 
from top to bottom.' 1 '' 



He 



.OW you live is often far more important to 
your health than where you live. A striking example 
of what proper sanitation can do is shown in the 
Panama Canal Zone. Down there, homes have 
been made healthful as a result of the work done 
by the Sanitation Department of the United States 
Army. Constant vigilance keeps them so. Your 
home, wherever it is, requires equal vigilance. 

Take an inspection trip through your house, from 
attic to cellar, and see whether the heating, lighting, 
plumbing and ventilating systems are in condition 
to give you and your family a full measure of health 
and safety. Should any of them be repaired, altered, 
or replaced? 

If you find that your house is in apple'pie order, you 
will be gratified. If you find a condition which should 
be corrected, you will be glad to do what is neces' 
sary to make your home safer, more healthful and 
more comfortable. 




= -!= '2»! 



INSPECT THOROUGHLY 

Heating 

Do your heating arrangements keep your home at an even 
temperature — about 70 ? Have the flues and chimneys been 
cleaned recently? Is coal gas emitted from furnace or stoves? 

Plumbing and Drains 

It is essential to health that sewage shopld be properly dis' 
posed of, and that plumbing and drains be kept in repair. Is 
hot and cold water available for kitchen, bathroom and laundry? 

Electric Wiring and Gas Outlets 

Defective electric wiring or connections may cause fires. Gas 
leaks may cause suffocations or explosions. In case of doubt get 
professional advice. Repairs must be made by a qualified expert. 

Ventilation and Screens 

Adequate ventilation is important to health, but drafts cause 
discomfort and also waste fuel. Inspect the casings of doors 
and windows to see that they open easily and close tightly. 

Screens at the proper season are necessary to keep out flies 
and mosquitoes — disease carriers. 

Food Protection 

Does your refrigerator hold its temperature between 40 and 
50 and keep perishable food in proper condition — especially 
the milk? 

Leaks, Cracks or Breaks 

Is there dampness in cellar or attic caused by a leak? Do 
clogged drain-pipes or gutters at the edge of your roof furnish 
breeding places for mosquitoes? Is there broken plaster in 
walls or ceilings in which vermin may breed? Shaky stairs? 
Weak banisters? Loose boards in floorings? They add to the 
number of falls — the most frequent of all accidents in homes. 

Lighting 

Correct lighting is needed to prevent eyestrain. Many a fall 
has been prevented by properly placed lights — particularly 
in halls and on stairways. 

Garbage 

Proper disposal of refuse and garbage is imperative. 



METROPOLITAN LIFE INSURANCE COMPANY 



Frederick H. Ecker, President 



The New Movie Magazine, January, 1935 



One Madison Ave., New York, N. Y. 



1 1f34 M. L.I. CO 



47 



Portrait of a 

WORKING GIRL 



And that's just what this is, a pen-portrait of 
hard-working Madge Evans, by her friend 

MARTHA FORD 



ONCE upon a time, a little 
girl sat on a cake of soap 
and gazed reflectively out at 
an adult world from the advertis- 
ing pages of every magazine in 
the country. She was a very little 
girl, but she had her feet planted 
firmly on the road to an enviable 
success as a child actress. Madge 
Evans became famous. She reigned 
supreme for a good few years. 
And then, when the awkward age 
arrived, with its agony of suddenly 
sprouting arms and legs, Madge 
disappeared for a while. When she 
thought the period of tran- 
sition safely over, a fully 
grown but slightly callow 
maiden made a brief appear- 
ance in "Classmates." Pinned- 
up hair and prematurely 
lengthened skirts hadn't 
wrought the hoped-for miracle 
. . . She had grown up, but her 
acting ability seemed to have 
died with her childhood. With 
the courage of a little warrior, 
she set to work on herself. 
She concentrated all her efforts 
toward rebuilding herself along 
smoother and surer lines . . . 
rubbing down rough edges, 
lowering and softening her 
youthfully strident voice. She 
wanted to amount to a great 
deal again ... to outstrip 
any success she'd had before; 
and she came through with 
colors flying. 

During the years between 
then and now, she lived as all 
aspiring young artists live — 
on often scanty food, miles of 
discouraging trudging, infre- 
quent work, beautiful visions 
of future greatness and many, 
many promises. We compared 
notes the other day — I was an 
aspiring young artist myself, 
but I fell by the wayside — 
and our experiences tally al- 
most perfectly. Madge, with 
her eyes a little sorry for the girls 
we both had been, began the train 
of reminiscence: 

"Remember how elegant soup 
used to taste at the Automat? And 
they gave you crackers, too. And 
didn't you feel a sort of — well, a 
sort of glamour about everything 
you did? Even to sitting hours in 
a manager's office, just to get 'no' 
for an answer! Remember the 
smells and noises and feelings of 
a New York Summer — when you 
know all you can possibly get is a 
stock job or a summer tryout, but 
you keep hoping? Remember the 
bus rides up Riverside Drive on 
Sunday — and how you'd hunt to 
find the one that took you farthest 
for your dime? Remember how 
you scrimped and saved to buy a 
ticket for a Theatre Guild play? 



Remember the unholy thrill of re- 
hearsals even if you only played 
a maid? And did you ever go" — 
on and on, with giggles and sighs 
and an occasional nostalgia grip- 
ping at our throats. 

Madge hates to see the old order 
change, in spite of being a full- 
fledged progressive. She hugs the 
glamour of yesterday to her heart 
with true appreciation of other 
times and other artists. She loves 
the old gods of the theater — as she 
loves the smell of grease-paint and 
the tingling challenge of a first 



The author of this story, snapped with 

Madge while Madge was working on her 

recent "Death on the Diamond." 



night curtain. It hurts her to see 
an actress, still beautiful and as 
artistically sure as ever, go down 
in defeat before someone younger 
and more blatantly popular. She 
has learned much by her ability to 
listen beautifully, particularly to 
those members of her own profes- 
sion who have won their spurs in 
a hard field. 

Madge has a chin. And behind 
that chin is a supply of deter- 
mination that could move moun- 
tains if mountains needed moving. 
She can work like a dock-walloper, 
clay and night if necessary. And 
she can take disappointments with 
true philosophy. She knows exact- 
ly where she's going and approxi- 
mately how long it's going to tak? 
her to get there. She realizes that, 
not being a genius, her talent must 





be fortified by unflagging concen- 
tration. 

She inspires an almost fanati- 
cal devotion in the hearts of 
everyone with whom she works, 
from grips to stars. And devotion 
from a grip is devotion indeed. 
They bow to no studio dictator- 
ship, these fearless and high- 
handed souls. But she likes them, 
they know she likes them, and to' 
a man, they would do murder for 
her. When she doesn't like, she 
doesn't like, with a vehemence 
that leaves you gasping. She can 
lose her temper with all the 
dash and fury of a summer 
storm and it's as quickly over. 
For days afterward, she's 
apologizing abjectly for the 
dark clouds her storm has left 
behind, and does her darndest 
to smile them away. 

She has a somewhat fantas- 
tic sense of humor. When 
she's being particularly digni- 
fied and well-behaved, you 
know that she's shaking her- 
self to pieces inside over her 
own very private little jokes. 
There's an imp in Madge's 
eye that won't be downed. He 
always manages to appear at 
the wrong moment, to upset 
any illusion of good behavior. 
The effectiveness of Madge's 
work lies in its absolute sin- 
cerity. She has an almost 
inspired sense of timing and co- 
ordination — an unerring Tight- 
ness of attack. Her perform- 
ances are a blend of talent, 
insight, understanding and 
good hard work. She couldn't 
shirk if she wanted to. Cnce to 
my knowledge and doubtless 
a hundred and one times of 
which I know nothing, she 
spent from three in the after- 
noon until eight-thirty at 
night, making hair and make- 
up tests. Finally, with apolo- 
gies for being a "big sissy," she 
admitted she'd have to rest a mo- 
ment, because she'd been up since 
six-thirty that morning and had 
worked straight through, without 
stopping to take time off even for 
lunch. 

Madge is impulsively generous, 
in spite of being a wise and 
thrifty little business woman. She 
knows the value of her money, 
where, when and how to spend it. 
But a tug at her heart-strings is 
almost inevitably a tug at her 
purse-strings — and she gives as 
freely of herself. I doubt whether 
anyone who asked for an hour — 
or two — or three, of her time, 
wouldn't be told at once, to "come 
over — do!" Blessed with an ex- 
traordinary sense of loyalty — a 
complete freedom from bridge- 



table gossip, and a deeply in- 
grained feeling for fair play, she's 
the adored leading-lady of this 
divorce-ridden business. The wives 
and sweethearts of male Hollywood 
are at peace when Madge works 
with their men. While almost every 
man she meets is a potential swain, 
Madge feels no urge to poach on 
any other woman's private prop- 
erty. She plays the game and there 
is never any doubt about her fol- 
lowing all the rules. 

In the field of competitive sports, 
Madge cuts a "mighty fine figger." 
She rides, swims, plays tennis and 
golf with inspiring dash and fer- 
vor. But she's a darn good 
lounger, too, when she feels an at- 
tack of the "sits" coming on — and 
sleep is her dear delight. She's a 
voracious reader, with an insati- 
able curiosity about people and 
places and things, but she might 
enjoy the telephone book if noth- 
ing more stimulating happened to 
be at hand at some particular 
moment. 

She has definite and progressive 
ideas about life and living, but 
she never bores you with them — 
she prefers to do her practising 
without any preaching. She's an 
intense modern, but her modernity 
does not extend to the parts she 
yearns to play. She has a heavy 
leaning toward the colorful and 
romantic, and once played opposite 
the fiery John of the Brothers 
Barrymore — at the tender age of 
thirteen, mind you — in a special 
performance of "Peter Ibbetson." 
That must have been a sight to 
see ... "her so young and him 
so haughty." 

She's pre-view mad — she'll drive 
miles to see an unnamed picture. 
But she'd rather stand in line to 
buy her ticket than know before- 
hand what the picture is going to 
be. She loves the unexpected. "I 
guess I must have a grab-bag 
mind," says Madge rather ruefully. 
"I'm always hoping I'll stick in 
my thumb and pull out a plum — 
and once in a while, you know, 
I actually do." 

TTIE day we had this picture 
-*- taken, (ed. note, the one shown 
at the left) Madge was playing a 
game of watchful waiting on the 
"Death on the Diamond" set. She 
has the patience of a baker's dozen 
of Griseldas, that girl. She sat, 
practically motionless, for more 
than an hour, without a flicker of 
annoyance. She says she can't 
read or sew or write letters or 
enjoy any of the usual time-killing 
devices when she knows she may 
be called into a scene any mo- 
ment. "My mind's single-track as 
well as grab-bag," she sighed, 
"I've got to concentrate on one 
thing at a time. But we can talk 
— come on, let's talk!" And we 
talked again for a time — of clothes 
a little and people a lot. Of time 
and tide and the affairs of man. 
Of pictures and personalities and 
the freakish circumstances of 
popularity. Madge is no idle chat- 
terer. Her conversation has point 
and verve and a goodly dash of 
humor. But you can enjoy, with 
her, those restful silences on which 
true friendship is based. She is 
able, with a smile, to make you 
feel soothed and at peace with the 
world — or to stimulate your im- 
agination to amusing heights of 
fancy. Her tastes are universal; 
her interests are varied and her 
gifts for companionship are un- 
limited. I love knowing her. 



48 



The New Movie Magazine, January, 1935 



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The Neiv Movie Magazine, January, 1935 



49 



Mrs. Fox's $780,000,000 



{Continued from page 23) 



out their patents in Germany for 
the photo-electric cell process of 
recording sound on film. Then 
they brought their patents to the 
United States and Fox welcomed 
them with open arms and a check 
for $60,000 for the North Ameri- 
can rights. Thereupon he estab- 
lished the American Tri-Ergon 
Company, with himself owning 
ninety per cent of the stock. He 
also brought himself years of liti- 
gation — with the United States 
Patent Office and with individuals 
representing great corporations 
and business interests determined 
to obtain the Tri-Ergon rights. 

npHEN came his financial re- 
■*■ verses, due in part to the tre- 
mendous ambition of the man to 
dominate the motion picture 
world, and due in even larger 
part to the general financial panic 
and the depression which fol- 
lowed. There were times, many 
times, when he was so hard- 
pressed for cash to stave off bank- 
ruptcy that he was forced to 
hypothecate about everything he 
owned, including much of his per- 
sonal fortune. And the time came 
when in exhaustion of body and 
soul he sold his voting stock con- 
trol of his companies. But the 
Tri-Ergon patents? Never! Some 
inner voice counselled him to hold 
on and hold on, come hell or high 
water. And a very important 
outer voice, that of Mrs. Eve Fox, 
his wife, spoke with even more 
emphatic tone. This lady, who 



of a family of nine. Karloff is the 
family name on his mother's side; 
on his father's side all the men 
were members of the British con- 
sular and civil services. His father 
Boris does not remember at all. He 
died. Boris was brought up by 
two older brothers. 

In his father's death lies the first 
instance of the tragedy which has 
marked his life, for if his father 
had lived he might have under- 
stood the boy. As it was, Boris 
grew up under the domination of 
the two brothers who, with the best 
intentions in the world, led him 
a crueller life than he would have 
led in prison. Prison was what his 
boyhood was. He wanted to be an 
actor. But acting, to his narrow- 
minded Victorian brothers, was on 
a par with stealing. It wasn't 
"gentlemanly." They forced him 
into the University of London to 
prepare for the consular service. 

It made him so miserable that 
he felt the only thing for him to 
do was to say good-bye to his fam- 
ily, his home, all that he knew, and 
disappear from them forever. For 
a boy of twenty-two, that is bitter- 
ness indeed! Boris somehow 
scraped enough money together to 
buy a cheap passage to Canada. He 
caught a ship and said good-bye to 
England. And then began the 
series of hopeless adventures that 
were to go on for twenty years — 
adventures which included a few 
jobs in stock companies, many at 
manual labor. 



had been, as one might say, his 
right-hand man in his whole 
struggle to the top from East 
Side days, who had worked with 
him long nights in the making of 
early pictures, who had been, in- 
deed, his chief aide and lieutenant 
in a thousand battles, looked for- 
ward to the day when the Tri- 
Ergon patents would be the great 
instrument for her husband and 
herself to revolutionize the world 
of education and culture as well 
as the world of entertainment. 
Little by little the interests which 
came to be associated with Fox 
raised their bids for the patents 
until, in 1929 an offer of $25,- 
000,000 was made and refused. 
But the most dramatic story in all 
these offers concerns the proposal 
made to Fox in 1930, at the time 
he was about to sell out and quit 
the game. 

A GOOD friend of his came to 
^*- him with an urgent appeal to 
him to sell the patents to the inter- 
ests he had been fighting. The friend 
took the attitude that the patents 
were valueless and that Fox might 
as well throw them into the pot 
with the rest of the properties 
he was selling. Weary of the 
struggle, perhaps, doubtful him- 
self, by then, that he could make 
his ownership stick in the courts, 
he was almost on the point of giv- 
ing in when Mrs. Fox stepped 
into the picture, head high, chin 
up. She said she had started in 
an apartment renting for eleven 



dollars a month and was willing 
to go back to an eleven-dollar 
hallroom if she could take those 
patents with her. And a little 
later, as William Fox himself told 
the story to Upton Sinclair, in 
the biography of Fox entitled: 
"Upton Sinclair Presents William 
Fox" this drama was enacted. 

"Greenfield was persisting that 
the transaction be closed, and that 
the Tri-Ergon patents be sur- 
rendered. Mrs. Fox was in the 
doorway, with only a curtain be- 
tween us, listening to this con- 
versation. She came into the 
room and went into a rage of a 
kind I would never like to see her 
or anyone in again. It resulted 
in a terrific expression of frenzy 
and she finally dropped to the 
floor and passed out. For a while 
I thought she was dead. It took 
us half an hour to bring her to 
again. It was then that Green- 
field realized that he must never 
again mention the Tri-Ergon pat- 
ents, and that if ever there was 
to be a sale (a sale of the Fox 
picture and theater properties) 
it would have to be done with- 
out those patents." 

U*OR nearly three years the ques- 
A tion of ownership of the patents 
was in the courts, slowly work- 
ing its way up to the court of 
final jurisdiction and to a victory 
for Fox. And now with victory 
arises the question of what now 
and in the future those patents 
may be worth to the man who 



Karloff the Uncanny 



{Continued on page 27) 



Commentators have talked a lot 
about one episode in Boris' life. 
Of how he trundled 300-pound 
casks of putty from the ware- 
house to his truck, drove twenty- 
five miles, unloaded them, and 
went back again for another load. 
They don't know that it was 
only one job in twenty like it — that 
the same sort of things, and worse, 
had been going on for fifteen years ! 
Nor do they know of the incident 
which occurred while he was driv- 
ing the truck, which would have 
broken his heart if his heart had 
not already been broken a dozen 
times over. They miss the whole 
point. It wasn't the work. Boris 
was used to work, and he had mus- 
cles like a stevedore. But he 
wanted to act! It was the not be- 
ing given a chance to act! When 
he was carting casks of putty and 
sacks of cement around, no less a 
producer than Richard Walton 
Tully called him and offered him a 
chance to play the lead in a silent 
picture version of "Svengali" — and 
then took the job away from him 
because he wasn't well enough 
known. Not well enough known! 
Didn't Boris know it? For fifteen 
years he had been begging for a 
chance to show what he could do, 
to become well known. And then 
to have the chance to become 
known offered to him and simul- 
taneously taken away from him be- 
cause he wasn't known! What 
irony ! How many men would have 
gone on, after that? 



And yet he can say, today, "Peo- 
ple go through life magnifying 
small, unpleasant incidents. One 
should forget them just because 
there are so many of them. One 
should look at the happiness which 
may lie in the future, never dwell 
in the past." That is the sav- 
ing philosophy that carried him 
through. 

No wonder Boris thinks that one 
of the great immortals is the 
doctor who invented anaesthetics 
for hospitals. "Years ago there used 
to be an expression, 'to bite the 
bullet,' " he says. "A wounded sol- 
dier, brought in to have his leg 
cut off, was given a bullet during 
the operation and told to bite down 
on it, to keep him from shrieking 
in agony. The man who first 
taught surgeons how to use anaes- 
thetics is immortal, to me, be- 
cause he has saved us pain." Is it 
any wonder that Boris should talk 
so much of pain? He knows what 
pain is — mental pain — the pain of 
knowing you have a job to do in 
life, knowing that you are cut out 
for an acting career, when the only 
work anyone will give you is swing- 
ing a shovel ! 

"Things can only hurt you as 
long as you let them stay with 
you," is another of his sayings. 
"The thing to do is dismiss them. 
Don't build up and dwell on them. 

"Some people think of me as a 
mystic," he once told me. "My 
mysticism lies in the one word, 'to- 
morrow.' Do your best today and 



clung to them with such desper- 
ate grip. He is on record with 
figures that stagger the mind. He 
figured $20,000,000 a year from 
theaters. He figured $3,600,000 
a year from motion picture pro- 
ducers. That's for the present. 
And looking to the future he sees 
a revenue from churches and 
classrooms of $325,000,000 a year 
from those two fields when fully 
developed. And then he visions 
the day when 15,000,000 homes 
will be equipped for sound pic- 
tures, at a royalty charge of $1 
a week for every home, or the 
enormous sum of $780,000,000 a 
year. Fantastic, one may think, 
but even five per cent of this calcu- 
lation would realize more than 
$50,000,000. 

ELIMINATING the future, disre- 
- L ' garding the day when schools 
and churches and homes may be 
equipped for sound pictures and 
required to pay royalty, these pat- 
ents would seem to represent the 
biggest pot of gold ever turned 
out of the crucible of the United 
States Patent Office. Fox says 
that he is not even sure that he 
will exact royalty from schools 
and churches, and that the great 
thing is to benefit education of 
mind and soul in classroom and 
church. And Mrs. Fox is very 
much back of him in that. 

Editor's Note: Since the preparation of 
this article the Supreme Court of the United 
States has voted to reconsider its decision on 
which the article is based. 



tomorrow will take care of itself. 
I know that now. But — never 
think of yesterday. Yesterday is 
gone. Yesterday is dead." 

Boris is not able to let himself 
think of yesterday because yester- 
day, for him, always has been too 
horrible. If he remembered it, if 
he let himself think of it, he might 
not be able to go on. Yet — whether 
he has let himself think of it or not 
— yesterday has marked him. It 
put those deep lines in his cheeks. 
It put those shadows under his 
deep-set eyes. Bitterness, and 
tragedy, and long failure, as the 
years rolled by, chiselled and 
etched his face into a stark sculp- 
ture, giving it character, giving it 
power, giving it a mysterious inner 
compulsion. 

Today Boris is happy. He is 
preparing "The Return of Frank- 
enstein." He lives in Katharine 
Hepburn's old home in Coldwater 
Canon — an old Spanish house with 
walls a foot thick, rambling over 
three acres of sunny hillside 
planted to apricots, avocados, and 
flowers. He is married, to a tall, 
statuesque, lovely wife — blond and 
charming and understanding. 

His tragic life has taught him 
not to ask for much. He doesn't 
want to be rich, he doesn't want 
any limousines or servants or lux- 
ury — he just wants to work in pic- 
tures and putter in his flower gar- 
den in between times. He raises 
terriers and chickens as a sideline. 
He is at peace. 



50 



The New Movie Magazine, January, 1935 




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USE TINTEX FOR: Underfhings -Negligees 
Dresses • Sweaters • Scarfs • Stockings 
Slips • Men's Shirts •••: Blouses - Children's 
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AT ALL DRUG STORES, NOTION 
AND TOILET GOODS COUNTERS 







IN A LAXATIVE 
FOR WOMEN 




IT MUST BE 

C/enl/e 

STRONG, powerful "dynamite" 
laxatives are bad for anyone. But 
for you women . . . they're unthinkable ! 

Your delicate feminine system was 
never meant to endure the shock of 
harsh, violent purgatives or cathartics. 
They weaken you. They often leave 
bad after-effects. Madam, you must 
avoid them! 

Ex-Lax is the ideal laxative for every 
member of the family, but it is particu- 
larly good for women. That's because 
while Ex-Lax is thorough, it works in a 
mild and gentle way. Why, you hardly 
know you've taken a laxative. 

And Ex-Lax checks on the other 
important points, too: It won't cause 
pain. It won't upset digestion. It won't 
nauseate you. It won't leave you weak. 
And what's very important — it won't 
form a habit. You don't have to keep 
on increasing the dose to get results. 

And Ex-Lax is so easy to take. It 
tastes just like delicious chocolate. 

All the good points of Ex-Lax are 
just as important for the rest of the 
family as they are for women. So mil- 
lions of homes have adopted Ex-Lax as 
the family laxative. 

Keep a box of Ex-Lax in the medi- 
cine cabinet — so that it will be there 
when any member of the family needs 
it. All druggists sell Ex-Lax — in 10c 
and 25c boxes. 

BEWARE OF IMITATIONS! 

Get genuine Ex-Lax — spelled 
E-X-L-A-X— to make sure of getting 
Ex -Lax results. 

When Nature forgets— 
remember 

EX- LAX 

THE CHOCOLATED LAXATIVE 



That Mad Shearer! 



what it did when they were there 
a month ago. When Norma men- 
tioned building the fireplace, the 
household said "It can't be done." 
They might have known that 
meant Norma would certainly build 
it! 

When I pressed Norma to know 
if she were born as dignified and 
aloof as all of her admirers think 
she is, she laughed heartily. 
. "I've tried to discover where that 
impression originated," she said, 
for it does seem to exist. I was not 
conscious of trying to achieve that 
effect, nor have I ever been, but in 
the early days I was so nervous 
and terribly frightened at the 
thought of any public appearance, 
where attention might be directed 
toward me. The more nervous I 
became, the calmer I was . . . almost 
stolid in fact. It is so yet. .This 
calmness gives one the appearance 
of dignity. It is probably my near- 
est approach to deserving the title. 
In addition to this, the parts I have 
portrayed might have strengthened 
that impression." 

WHEN Norma is hurt she cries. 
She never pouts. She refuses 
to poison her system with pent-up 
emotions. She has to talk it out. 
No matter who is responsible for 
the hurt, Mr. Thalberg has to hear 
it all and many times he is kept 
awake all hours listening to her 
while she "talks it out." 

She doesn't play practical jokes 
on other people, but takes those 
played on her in great fun. Mr. 
Thalberg is constantly think- 
ing up a practical joke to try 
on her when he comes home. 
She's usually watching for it, 
but if she happens to see 
through it, she doesn't cheat 
him out of his fun. 

She hates cards, but loves 
games of all other kinds. Since 
her return from Europe, she 
seems to enjoy parties more. 
However, she rarely indulges 
herself more than once a week 
while she is working. She goes 
to bed at nine o'clock then, 
and feels she is robbing both 
herself and the studio if she 
stays up until twelve o'clock 
at a party. But Saturday 
night is a delight, and she 
looks forward to it like a girl 
of fourteen. She can then stay 
up until four o'clock in the 
morning if she cares to. She 
adores working like a Trojan 
all week and playing glori- 
ously on Saturday night. 

She never releases any of 
her emotions by going skat- 
ing or taking in the attrac- 
tions at the Venice Pleasure 
Pier, but she would just love 
to sit by the ocean and medi- 
tate for hours, if ever she 
could find the time. She loves 
costume parties and is always 
terribly excited until she is 
there but she has no longings 
to impersonate a certain char- 
acter each time. She doesn't 
ever long to be a man and do 
the things that men do. She is per- 
fectly satisfied that she is entirely 
feminine. 

But, when Norma sees a sloping 
hill, covered with well-cut grass, 
she has a perfectly insane desire to 
roll down it. While she was making 



(Continued from page 4) 

"The Barretts of Wimpole Street" 
they were on location at the Busch 
Gardens in Pasadena. The com- 
pany missed Norma between scenes 
and after searching vainly for an 
hour or so, found her on one of the 
sloping lawns, rolling down the hill 
with a little ten-year-old boy who 
had come to watch the picture 
being made. I will bet my last 
dime she is the kind that slid down 
the banister rail every time she 
got a chance. 

And how I laugh about her um- 
brellas. She never has one. Last 
year she determined this condition 
should be corrected, so she pro- 
ceeded to buy an umbrella in al- 
most every color obtainable, so she 
would be certain to have one to 
match any outfit she wore on a rainy 
day. And she ended by leaving 
them all at home and always hav- 
ing to borrow an umbrella from her 
maid to go from her dressing-room 
to the stage! 

She is about the most consci- 
entious person I know, yet 
she never keeps appointments 
promptly! The trouble is, she 
plans to do twice as many things 
as it would be humanly possible 
for one person to do in a day. One 
of the things that Mr. Thalberg 
teases her about a great deal is 
the lists that she makes up, with 
such meticulous care, of all the 
things she will do the following 
day. A typical list would read 
something like this: 

"Shop for Mother, buy maga- 
zines, call Mary, place ad in paper, 




From Hap tee's Gag-Bag 

GUIDE (On sight-seeing tour around Hollywood): 
"And now we are passing the home of Mae West." 

COLLEGE BOY (Jumping off bus): "That's what 
you think!" 



send present to Helen — (baby's 
birthday), see interviewers, buy 
ties for Irving, fit shoes, read 
story for next picture, matinee 
with Sister. 

Mr. Thalberg loves to find these 
lists and there is a great scramble 



over them. He likes to tease her 
about the things she could not do. 

She always runs upstairs. No 
one has ever seen her walk upstairs 
to her dressing-room on the M-G-M 
lot. And her servants have long 
since ceased imploring her not to 
run up the stairs at home. 

She likes eating from other peo- 
ples' plates. No one is safe near her 
if they are eating something that 
is not on her plate. Because of this 
Irving calls her a "snitcher." And 
she has never learned to eat lettuce 
with a fork. Always takes it with 
her fingers. 

vyHEN the Thalbergs were 
** abroad, Norma took many 
dresses, yet "never had anything to 
wear." Never the right garment f or 
the climate. On a cold day in 
Algiers, she found herself in 
chiffon. If it were very warm, she 
was certain to be dressed in tweeds. 
And she is as bad as her friend 
Helen Hayes about making all 
plans for a party and discovering 
at the eleventh hour, she has not 
invited a guest! 

She drives the photographers 
mad. Yet they are all crazy to 
photograph her. She will have an 
appointment for 10:30 in the 
morning and after repeated phon- 
ing, every half hour, that she will 
be a little late, she finally arrives 
at perhaps 4:00 P.M., and then 
keeps the photographer working 
like fury until nine o'clock or later, 
wholly unconscious of the fact that 
it is night. But is the photographer 
pleased when he sees the fin- 
ished pictures! He certainly 
feels it was worth all the 
waiting. 

You may imagine, in your 
picture of Norma as a model 
of perfection, that she always 
has her lines letter-perfect 
before her picture begins. 
Don't believe it. When she 
was making "The Barretts 
of Wimpole Street" and dis- 
covered that Laughton came 
on to the set without knowing 
his lines, she became his 
friend for life. Now, she 
thought, she wouldn't be alone 
in her embarrassment when 
Mr. Thalberg came out to 
hear the rehearsal. 

Where then, is your cold, 
aloof, precise, dignified Nor- 
ma Shearer? I'll tell you 
where she is on Sunday eve- 
nings: sitting at the piano 
with her husband, singing all 
the old-fashioned music of 
fifty years ago. First, he 
picks it out on the piano with 
one finger. Then when she 
can stand that no longer, she 
plays it herself (you may re- 
call that she was a fine mu- 
sician). He tells her she can- 
not sing, and she tells him 
that he can. So between them 
they have a great time. Now 
you know she is mad ! A great, 
famous, glamorous star being 
content to sit at home Sun- 
day evenings and sing old- 
fashioned songs with her hus- 
band! It hardly seems possible and 
if this isn't enough to convince you 
completely, then I'll let you in on 
the deepest and darkest secret of 
all : she even bites her finger 
nails! 



52 



The Ne^v Movie Magazine, January, 1935 




The New Movie Magazine, Janvary, 1935 



53 




u<mh 



EYES? 

He can't forget 
their beauty if 
you use 





BLACK, 
BROWN AND BLUB 



w£s 




BLACK 
AND BROWN 




COLORLESS 



• More than any 
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When he meets you, 
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Keep your lashes soft 
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products to be assured 
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absolute harmlessness. 




BLACK OR WHITE 
BRISTLES 



BLUE, BROWN , BLUE -GREY, 
VIOLET AND GREEN 



Hollywood Past and Future 



George Arliss, Dick Powell, Eddie 
Cantor, Joe E. Brown, James Cag- 
ney, Fredric March. 

The rating is gauged by profits 
on their pictures. This is not a 
true gauge. Some stars had more 
sumptuous productions than others. 
George Arliss, for example, had 
the benefit of "The House of 
Rothschild," a draw in itself. 
Norma Shearer had the aid of 
stronger supporting names than 
other stars had. Dick Powell can't 
be given sole credit for the musi- 
cal shows in which he appeared 
inasmuch as there were other stars 
with him (to say nothing of them 
there Busby Berkeley rascals). 
The same pertains to Eddie Can- 
tor's rating. For many, no doubt, 
Eddie was just the funny little 
fellow buzzing amid the Goldwyn 
Flowers. 

GARBO does not appear among 
the mighty ten. "Queen Chris- 
tina" was stuffy, stagey, talky. 
Garbo dipped, and out bounded the 
old Hollywood cheer squad to dirge 
its favorite ditty entitled, "Fin- 
ished." Garbo will collect with a 
good picture. She will not be the 
major sensation. 

That other glamour gal, Marlene 
Dietrich, has also gone up a side 
street. What can a gal do when 
her director goes for gargoyles? 
Marlene is just a moving illustra- 
tion in Mr. Von Sternberg's art 
work. 

Stroking the beard of the 
prophet, I get these vibrations: 

Mae West has a rival sensation 
in Grace Moore. Miss Moore re- 
vealed, to the surprise of nearly 
everyone, that the public has be- 
come high-minded musically. I pre- 
dicted some time ago opera, edited 
and modernized, would be a success 
but no one heard me because of 
the yowls of the tin pan alley-ites 
who rate as composers in Holly- 
wood. 

I don't mean to join the cheer 
squad in a chant over Mae's re- 
mains. Mae became an American 
Institution over night and anyone 
aiming to overthrow an Institution 
is a Red. Without appearing on 



{Continued from 'page 45) 

the screen Mae could earn her 
daily diamonds producing. There 
isn't a smarter showman out here 
on the West Coast than Lady 
Barnum. 

Warners haven't done right by 
our Joan Blondell. She could rate 
with Mae West and Jean Harlow as 
one of the three star comediennes. 
I foresee the boys doing better 
by Blondell the coming year. 

Richard Barthelmess having 
graduated from stardom can come 
back in chosen roles, a splendid 
actor. 

Maurice Chevalier will soon heed 
the call of France or the stage. 
That Merry Widow waltz just 
about winded Maurice. 

Jeanette MacDonald grows in 
beauty, acting, voice. She is a 
1935 sure winnah. 

William Powell will make ten 
pictures and because he is expert 
his stock will rise. 

W. C. Fields should come into 
the clover of wider appreciation 
as the screen's best comedian. 

Jack Oakie is another who 
ought to get more credit. 

Fredric March declaiming and 
outbarrymoring John should excel 
playing actors. He will certainly 
prosper. 

Bing Crosby is a vocal vogue. 
1935 is somewhat doubtful. 

Norma Shearer in lavish pro- 
ductions has every chance to gain, 
particularly if she gets rid of 
mannerisms and projects thought 
and feeling. 

Ronald Colman is liable to climb 
back in the 1935 list. Something 
about the man holds 'em. 

Clark Gable is liked by men 
but it's the women who put him 
way up there. Should doff tux 
fer denims. Has the ice man's 
appeal for housewives. 

Myrna Loy has mounted slowly 
and for that reason will probably 
linger longer. 

Tom Brown is the American 
Kid. They ought to toss him some 
college and military roles. 

Will Rogers, another American 
Institution, who will last until the 
Republicans return and that is as 
far as I can see into the future. 



Oh why, as Mrs. Pat Campbell 
exclaimed over her fancy work, 
did I ever start this? 

But I got to say some words 
on James Cagney. There is elec- 
tricity in the boy. If you like 
him — I mean on the screen, I 
don't know him personally — your 
enthusiasm is liable to mount a 
soap box. That's the sort of roles 
he should get — rabble-rousers. 
Fighter for a cause, right or 
wrong. A hero of current issues. 
The late Wilson Mizner declared 
Cagney gave the screen's greatest 
performance in "Winner Take All." 
No one beats him for fire and 
sincerity. Considering the pre- 
judicing moll-smacking roles and 
the mediocrity of many pictures, 
he has done extraordinarily well 
to land among the Big Ten. 

T N closing, it is very gratifying to 
■*■ Swami Howe to predict we 
are ascending to a higher plane. 
The enlistment of Max Reinhardt 
to produce "A Midsummer Night's 
Dream" — for which, by the way, 
the author, Mr. Shakespeare, 
should receive some credit— is a 
bright augury. While with War- 
ner Brothers he probably will 
produce "The Miracle." Fox is 
giving Dante a chance with "In- 
ferno." Dickens gets a break at 
Universal with "Great Expecta- 
tions," offering additional zest in 
the debut of Henry Hull. M-G-M 
is doing "David Copperfield" with 
great players, among them the ex- 
cellent Frank Lawton of "One 
More River." Thalberg is doing 
"Marie Antoinette" in magnificence 
of setting and cast. History, 
Religion, Biography are on tap 
at vigorous young 20th Century; 
George Arliss as Cardinal Riche- 
lieu. Ronald Colman as Clive of 
India with a herd of elephants, 
Wallace Beery as the Mighty Bar- 
num with a flock of freaks. 

If these sound a little too heady 
and moral to the kiddies I might 
add we have the "Folies Bergere" 
and "Gold-Diggers of 1935" to look 
forward to. And there's always 
Mae to fall back on. Umph! 



DIET PROBLEMS 
of THE STARS 

Conducted by 
DR. HENRY KATZ 

'T" S HE question of weight in Hol- 
■*■ lywood is brought up in a letter 
from a reader of New Movie 
Magazine that runs as follows: 

"I would like to get a doctor's 
opinion about the fashion for ex- 
cessively slender silhouettes in 
Hollywood. I have learned that 
Claudette Colbert is five feet, five 
inches tall and weighs only one 
hundred and three pounds, Kay 
Francis is five feet, four inches tall 
and weighs only one hundred and 
twelve pounds. This, I believe is 
typical, yet such weights are below 
normal according to the health ex- 
perts. I would like to know if 
actresses who remain as under- 
weight as this run the risk of in- 
juring their health and whether it 




This new department in New Movie 
Macazine is conducted by Dr. Henry 
Katz, experienced general practitioner 
and member of the staff of Fordham 
Pediatric Clinic, New York. If you 
would like expert advice about any 
questions of food or diet, send them 
to Mary Marshall, 55 Fifth Avenue, 
New York City. Dr. Katz will per. 
sonally direct the answer to your 
problem unless it is one that calls for 
advice of your family physician. Ques- 
tions and answers of special interest 
will be published — with senders* names 
omitted — in this department, except 
where special request is made not to 
have the answer used in this way. 
Letters should enclose stamp, or 
stamped, addressed envelope for reply. 



is safe for other girls to follow." 
To begin with we should remem- 
ber that outstanding stars of the 
movies are unusual people. They 
are exceptions to the rule, not only 
in appearance and personality, but 
in physical endurance. It would 
not be a good plan for a young 
girl of average endurance to imi- 
tate these women in this matter. 



We should also remember that 
these actresses keep down their 
weight by systematic exercises and 
carefully regulated diet under the 
supervision of doctors. They usual- 
ly have good long vacations for a 
part of the year, and are able to 
leave Hollywood for a change of 
climate when this is advisable to 
keep in good physical condition. 



54 



The New Movie Magazine, January, 1935 




Evelyn Venable's 

HOLLYWOOD HOME 



IN a setting of lovely old pepper 
trees, informal vines and shrub- 
bery is the Hollywood home of 
Evelyn Venable, Paramount star. 
Like so many of the homes in this 
locality it is Spanish in style and 
built on low rambling lines. The 
exterior of the house is constructed 
of white stucco and is extremely 
simple in design. Ornamental 
touches are provided by the red 
tile decoration over the front en- 
trance and the wrought iron rail- 
ing across the terrace. 

The plan of the house consists 
of a very large and oddly shaped 
dropped living-room with an open 
fireplace, a good-size dining-room 
well arranged for placing furni- 
ture, a small but adequate break- 
fast room, a kitchen, laundry and 
maid's room forming a separate 
wing, Evelyn's own bedroom, den 
and bath, and at the opposite end 
of the house a bedroom and bath 
occupied by Evelyn's father. All 



The charm of the simple 
architectural style of Eve- 
lyn Venable's Hollywood 
home is enhanced by its 
setting of lovely trees and 
informal shrubbery. 



From her arch doorway Evelyn looks 
out upon the lovely garden surround- 
ing the house. 



of the bedrooms are provided with 
three-way ventilation. 

The furnishings and decorations 
throughout are simple and are in 
keeping with the architectural 
character of the house. 



Letters from readers of New 
Movie shotv a keen interest in 
homes of motion-picture actors 
and actresses. The plans of these 
houses in and about Hollywood not 
only provide an interesting picture 
of the home life of these celebri- 
ties, but offer helpful suggestions 
to home builders everywhere. If 
you are interested in the house of 
your favorite player, send in the 
name to Tower House Editor, New 
Movie Magazine, 55 Fifth Avenue, 
New York, N. Y. 







■like 9i 




46 




explains 

DR.R.E.LEE 

Dr. R. E. Lee, Director of 
Fleischmann Health Re- 
search, explains: "Discov- 
ered by a noted scientist, 
it's a new yeast 'strain'!" 



. . . mars wny mis new 
yeast acts quicker /" 

_, - — ^^^ • 



Constipation, Indigestion 
and related skin troubles 




corrected much sooner. (New Vitamin A checks colds!) 



THINK OF IT! ... a new yeast so 
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Because it's a stronger "strain" of fresh 
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faster! It's rich in hormone-lilje*substances. 

* What are these Hormone-like Substances 
which it contains? 

They are "activators" (like natural body 
stimulants) which speed the flow of your 
digestive juices and strengthen digestive 
muscles from the stomach right on down. 

Will it correct Constipation and Indiges- 
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Positively! By making juices flow fast and 
muscles work harder inside you, "XR" 
Yeast makes your food softer — better 
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The most common skin 
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EAT 3 CAKES of Fleischmann's "XR" 
Yeast every day — plain, or dissolved in one- 
third glass of water — preferably half an hour 
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(As good as ever for 
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'Fleischmann'a new 
'XR' Yeast is much 
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days felt grand." 



ueiscm 



manns 1M least w 

AT GROCERS, RESTAURANTS, SODA FOUNTAINS 



mNe< 




The New Movie Magazine, January, 1935 



55 



KQOL 

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56 



The Sweetest Love Story 



girls have known and enjoyed . . . 
rather, pain and sorrow have 
touched her frequently and she al- 
ways has had to analyze and con- 
trol her emotions. 

She is probably the most ideal- 
istic person within the film colony. 
Naive, yet sophisticated far beyond 
her years, her life has been a series 
of nightmares and joys. Stark 
tragedy has mingled with blissful 
moments, until Jean today echoes 
the fruits of her varied experi- 
ences in extraordinary dramatic 
ability. 

You've seen her in such films as 
the already-mentioned "Little Wo- 
men," in which her portrayal of the 
lovable Beth will ever remain a 
vivid memory (indeed, she reflect- 
ed her real self in that role), "Op- 
erator 13," "Lady for a Day," 
"Lazy River," "Rasputin," "Cara- 
van," and "Have a Heart." The 
day I lunched with her, Metro, 
to which she is under contract, had 
made her a star. 

"I'm so excited I nearly wrecked 
my car coming over to the studio," 
she proclaimed, actions not one 
whit belying her words. "Today is 
supposed to be a holiday for me, 
and I was told not to show up . . . 
but I could no more stay away than 
I can help being doubly happy." 

The studio's starring Jean is a 
high tribute to her capacity and 
talents as an actress. She stands 
now, after two years in the studio, 
at a point most players work years 
to attain . . . and far from success 
going to her head her rising popu- 
larity has delighted but totally un- 
changed her. She is as unaffected 
after tasting of fame as the day 
she entered the studio, fresh from 
having been selected by Metro offi- 
cials for her beauty and appeal as 
she rode on a flowered float in a 
Pasadena parade. 

Born in Deer Lodge, Mont., her 
family, when she was eight months 



(Continued from page 26) 

old, moved to Oregon, thence to 
Los Angeles. While still in her 
more tender years, her parents 
separated, then divorced, and Jean 
went to live with her mother. 

Some time after that, the mother 
married again. In her step-father 
Jean struck up a bond of close 
companionship, but the death of 
this new-found friend was the most 
bitter moment the little girl had 
ever experienced. 

Following a period of economic 
stress, in which her mother strug- 
gled valiantly to keep her little 
brood of three children together 
(Jean, a sister and a half-brother), 
Jean eased the situation by going 
to live with a family in Pasadena, 
by the name of Spickard. Mrs. 
Spickard, a kind, motherly soul, 
made the little girl feel at home 
and started her at the John Muir 
High School nearby. 

At first, Jean could scarcely 
realize her position. Here she was, 
free and light-hearted for the first 
time in her life. It seemed too 
good to be true. 

It was. Ere many months had 
passed, the Spickards felt the effect 
of the depression and Mrs. Spick- 
ard secured a job. So that she 
might remain, Jean made arrange- 
ments to care for the children, look 
after the house and cook the meals 
for the family. This meant con- 
siderably less time to devote to her 
own interests, her studies, dancing, 
painting, but it did provide food 
and lodging. Hardship and depri- 
vation had overtaken her again. 

Her future, however . . . her 
dreams, her plans . . . kept her 
from utter despair. It is her phi- 
losophy, worked out in her mind, 
that if one believes in a thing ear- 
nestly and works consistently 
enough, that will eventually come 
to pass. Hand in hand, belief 
stalked with her through her 
troubles, until that day she won 



poster contests, was chosen to ride 
on a Pasadena float publicizing the 
Olympic Games and M-G-M signed 
her to a long-term contract. 

Jean, as she sat toying with a 
green salad, too thrilled with the 
prospect of finally starring in a 
picture to more than nibble at her 
food, her slight, girlish figure en- 
cased in light blue pyjamas, the 
sun making her lustrous brown 
hair dark copper in color, presented 
a picture not easily forgettable. To 
gaze at her, one would never ima- 
gine that she ever had known 
despair and darkness, could be any- 
thing but a little school girl look- 
ing forward with happy anticipa- 
tion to a party. Deep in her eyes, 
though, one reads of visions un- 
known to the average woman many 
years her senior. 

Two interests consume her with 
a flaming force. One, her work, her 
acting and her study in those other 
fields which hold a particular fas- 
cination . . . dancing, sketching and 
painting, French, piano, writing. 
The other is her love for Pancho. 

Vaguely remote, a person living 
largely within herself, Jean Parker 
has not the same outlook upon life 
that the majority of people enjoy. 
She is more serious, more inclined 
to grasp fundamentals, more elu- 
sive, and innately she understands 
the problems of life to be met and 
overcome. 

As she stands on the threshold 
of a new life, a life which promises 
much of interest, fame and things 
worth while, she looks forward with 
an easy confidence gained only 
through what has happened in the 
past. One of the tenets of her 
creed, that she has fashioned for 
herself, dictates that she must live 
by her ideals . . . out of unhappi- 
ness and hardship was this born, 
and in these ideals she is at last 
finding happiness and her rightful 
place in the world. 



Sinclair Lewis Picks Hepburn 



glow of the spot-light. They read, 
as they are written, in the open, 
and under the sky. No man, least 
of all an author worth his type- 
writer, can belie his genesis. And 
the genesis of Mr. Lewis was 
Sauk Center, Minn. — a healthy 
environment that drips through- 
out his whole work. 

There, and at Yale, and at Up- 
ton Sinclair's Helicon Hall, that 
early social school the California 
liberal founded across from Man- 
hattan in New Jersey — indeed, 
throughout his salad days in 
Greenwich Village, he never for- 
got his earthiness. Ask him to- 
day where he prefers to live. He 
will answer you Vermont, where 
he lives, on a craggy New Eng- 
land farm, for more than half of 
each year. 

He is the champion of the 
home. The home that Hepburn 
always seems longing for. Isn't 
this the wistfulness in her art 
that she so movingly presents in 
"Morning Glory"? in "Spitfire"? 
and much so in "Little Women"? 
It really is. 



(Continued from page 29) 

With this same key you unlock 
the secret of Mr. Lewis's art. It 
makes tender and tragic "Main 
Street," "Babbitt," "Dodsworth" 
and "Arrowsmith." Like Charles 
Lamb, Mr. Lewis hates to stray 
from his fireside and tipple, his 
hayfields and his meadows. 

f~\ NE of the most moving inci- 
^-^ dents I have ever experienced 
occurred some years ago when Mr. 
Lewis returned from Norway 
after having won the Nobel prize 
for literature. As a working 
newspaperman it was my assign- 
ment to board his ship at Quar- 
antine and return with an inter- 
view story. 

Through no fault of my own I 
missed the Revenue Cutter one 
must take to go down to Quaran- 
tine, (the assignment came too 
late), and I had to journey to 
Westport where Mr. Lewis and 
his wife, Dorothy Thompson, had 
taken a cottage to await spring- 
time in Katharine Hepburn's 
Connecticut. 

It was a raw, bleak day in 



March with a leaden, menacing 
ceiling that gave no hint of 
April's girlish laughter. We 
chatted in the living-room by the 
fire. 

A nervous, gangling, explosively 
energetic man, he can't sit out a 
talk, invariably rising to pace 
back and forth as though the due 
emphasis of his remarks could 
only be quitted through the bones 
of his legs. Presently it began to 
snow. We went out on the porch, 
gazing miles over the meadow and 
watching it whiten. We must 
have stood there fully ten min- 
utes, silent in -a soundless setting. 
Finally he spoke: "How easily 
nature writes." 

Now, as I write this, how eas- 
ily I can fancy Hepburn, coming 
across the fields, her toqued head 
swaying, rhythmic to her lean 
thighs, eager to call us forth to 
tramp along with her. She is one 
with the scene; as Mr. Lewis was 
one with the setting. What utter 
nonsense to call her Park Ave- 
nue's paper flower. She's a Sauk 
Center Susie. 



The New Movie Magazine, January, 1935 



What Won't Get You 
into the Movies 



(Continued from page 35) 



"another Garbo" or anything like 
that, why, just check what you 
have and what you haven't against 
this system. 

Let's listen to what Fred Scheus- 
sler, casting director at RKO 
studios, has to say. Fred's a 
veteran at the job; he's one of 
what you might call the Big Six 
among Hollywood's casting direc- 
tors. What he sets forth about 
whom he'd hire and whom he 
wouldn't is representative of all 
Hollywood. Incidentally, too, 
Fred's the casting director who, 
years ago, gave Janet Gaynor 
her very first job before the 
camera. That was at Universal, in 
two reelers. . . . 

"And, if Janet Gaynor walked 
into my office today, I'd tell her 
I couldn't use her," he says. 
"Crazy? — yeah, I suppose you 
think it is. But it's true. If Janet 
Gaynor's box-office rating were not 
established, she wouldn't have a 
chance in Hollywood today. What 
we're looking for is Janet — plus 
the sophistication of — let's say 
Miriam Hopkins — and that's the 
only type I'm even giving a second 
look at among the thousands who 
come into my office looking for 
jobs." 

"In the first place, the old days 
of pretty face, of beautiful body 
getting a girl by just aren't, any 
more. Not even when they're a 
friend of somebody in the front 
office. No more do executives call 
us on the private phone and say: 
'Look here, Fred, Miss So-and-So 
is coming down to see you for a 
bit. She's pretty enough. And 
besides — ah — uh — she's a friend of 
mine. So give her a job.' 

"Nope. Even the big-shots know 
that that doesn't work any more. 
They know a girl can have a pretty 
face and a you-know body, but 
they know that it takes more than 
that. They know the three things I 
look for first, when a girl walks 
into my casting office. Here they 
are: 

"FIRST— I watch them walk in. 
That 'entrance' and their carriage 
are the first hurdles. The great 
majority of girls who 'walk in' 
in pictures can't even get by that 
simple pair of obstacles. If they 
haven't an erect carriage, if they 
haven't that in their walk which 
is called poise, if they don't move 
with a certain sure determination 
and force, then I know they won't 
do. And you'd be surprised how 
many of them slither and slouch 
and shuffle in, don't they realize 
that the camera will catch that 
and magnify it? Apparently not, 
because they act so surprised when 
I tell them 'No.' They open wide 
eyes and say: 'But you haven't 
even talked to me, Mister Scheus- 
sler.' And I answer: 'No, but I'm 
afraid I've seen you walk.' But 
if they get by with their entrance, 
then: 

"SECOND— I listen to them speak. 
I don't mean that I care WHAT 
they say. It's HOW they say it 
that I'm interested in. And under 
that 'how' I include diction, modu- 
lation, timbre. True, modern sound 
technicians can do wonders with 
a voice, but even they can't do 
anything with a girl who runs 



her words together, who mumbles, 
who has a voice that sounds as 
though it had fought with seven- 
teen adenoids before coming out, 
who talks too loud or yet too low. 
Maybe she could unlearn some of 
these faults, but the chances are 
that lifelong habit has so strongly 
made them part of her that she 
couldn't overcome them. 

"But say the girl's gotten by 
those two points — Walk and Talk. 
Then: 

"THIRD — I observe her manner- 
isms. How the girl acts during 
our interview is a giveaway, nine 
times out of ten. To be a good 
camera actress requires poise. 
When a girl fidgets and fusses and 
primps and tries to hide her hands, 
and doesn't know what to do with 
her feet, while she's talking to me, 
I know she won't be able to com- 
port herself before the camera, 
no matter how hard she tries. The 
girl who can sit there or stand 
there, while I interview her, and 
be full mistress of herself and her 
nerves and her body — that's the 
girl who has a chance. But they're 
rare. They'll fuss with their purses, 
they'll toe in nervously while talk- 
ing, they'll draw imaginary de- 
signs on the desk top to keep 
their hands and eyes busy while 
we're discussing her chances — and 
they're surprised when I tell them 
they won't do. 

"The final test and the hardest 
to pass is one I can't put into words 
— nor can anyone else. It's been 
called everything from 'It' to 'Per- 
sonality.' Charm, presence, mag- 
netism, individuality, sex-appeal, — 
these are some of the words that 
they use when they try to describe 
it. But whatever it is, whatever 
you call it, the fact remains that 
without it you're just about sunk 
in movies. And the oddest and 
hardest part of the final test, for 
us casting directors, is the fact 
that it doesn't show offscreen, nine 
times out of ten. Offscreen, when 
they talk to us, these girls may be 
as dull and lifeless as a dead mack- 
erel. Yet put them under the 
lights and let a camera grind on 
'em — and when Ave see the rushes, 
we yell and cry: 'Another star!' 

"I could sit here and suggest 
test after test to try on yourself 
to determine whether or not you 
have that quality. And none of 
the tests, nor all of them, would 
finally answer the question. It 
takes a screen test — and an ex- 
haustive one, too — to tell whether 
or not a girl has that quality on 
the screen. 

"Oh, wait a minute, I nearly 
forgot something," said Scheus- 
sler. 

"A girl may get by all the other 
tests," he grinned, "and still find 
the casting office door a two-way 
proposition — in and out — rather 
than the one-way door to film 
success. 

"I mean that if she's under eight- 
een her chances of getting by are 
still just about zero with the rim 
rubbed out. For several reasons — 
under eighteen, they have to spend 
four hours a day in school, and 
that raises the devil with studio 
schedules. And besides — under 
eighteen is under eighteen." 





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The New Movie Magazine, January, 1935 



57 




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I Was That Way About Fields 



I recall well when he was to make 
his first important Broadway at- 
tack in the Follies of 1915. We all 
knew he was great in his golden 
silence, but were a bit dubious 
about how he would stack up with 
Ed Wynn and other talking comics. 
He not only stacked up, he cleaned 
up. True, he didn't talk much. He 
didn't have to. With each added 
success, the movies screamed louder 
for his presence. Bill left wonder- 
ful contracts for the theater to 
come West and make silent pic- 
tures. Here was the great new 
comedian! Before he could really 
get camera-wise the talkies clanged 
across the silver sheets and buried 
Bill underneath them. 

It was, of course, understood that 
no silent comedian could possibly 
talk. Bill gathered up his billiard- 
cues, cigar boxes, pride and other 
props. Back to the theater he 
went, but clinging to his dream. 

"You know, Elsie," he said, "I 
was ready to work for anything or 
nothing to get a chance to just live 
here in peace. Really unpack for 
the first time since I left home as a 
boy. I planned for a little bunga- 
low, never got as far as hoping for 
a car. I had decided that if I 
couldn't do pictures I would do car- 
tooning. I wanted to manage some 
little theater. I wanted most any- 
thing that would just give me 
enough to live modestly." 

T KNEW that he meant without 
A nibbling at capital, because Bill 
has worked long and hard. He has 
never been a "show-off," so I imag- 
ine that if he had not finally crashed 
the talkies with a resounding boom 
he would still have betn able to un- 
pack the trunk. It took this wise 
and supposedly fly village two and 
a half years to recognize that W. C. 
Fields was "a natural" for the 
screen. The town is full of pa- 
tient talent. Fortunately, people 
rarely die of discouragement. 

The willows swayed in rhythm at 
the edge of silver Toluca as we left 
the future suspended in air and 
traveled back time's highway. Bill 
remembered so many little details 
about Mother and me. How she 
used to stand in the wings saying 
every word as I said it. Singing 
my songs with me, telling me when 
and how to bow. 

"She was a great woman!" he 
said. 

"She still is," I answered. I 
sounded strangely like her when I 
said in a business-like tone: "This 
is a marvelous place, Bill. Do you 
own it?" 

"No, I don't, but it is nice, isn't 
it?" He looked around and sat 
back smiling. "I still can't believe 



(Continued from page 25) 

that it's all true. I still expect 
them to say, 'The trunk has to be 
ready in the morning.' Do you get 
up early?" he added briskly. 

I bragged gladly that I do get 
up and that I resent all those lovely 
hours of lost life when no bell was 
allowed to ring and my faithful en- 
tourage held its breath until nearly 
noon while Elsie slept those nine 
hours that she couldn't live without. 

(")N comparing notes, we decided 
^^ that our pasts had been thrill- 
ing, but that our "presents" were 
grand. Again we left the future 
dangling out on a limb. Bill's is 
pretty secure. His popularity is 
mounting daily. Another picture 
like "The Old-Fashioned Way" and 
he can burn all the trunks. I have 
a feeling that he has kept that motor 
trailer for a getaway just in case he 
should "see a dream walking" out 
on him, so I'm going to put in my 
application for it. You never saw 
such a perfect little home on 
wheels. I'm going to need a mov- 
able one if I don't sell one of my 
stationary ones pretty soon ! 

The mark of affluence was so 
clearly obvious under the spreading 
oak! Telephone messages over- 
lapped each other as Bill said, "Tell 
'em I'm playing golf!" No one in 
this world could play as many golf 
games in one afternoon as the King 
of Toluca Lake thought of. 

Among the Flotsam and Jet- 
samites who drifted through the 
Fields-Toluca pastoral was Tam- 
many Young. This amusing and 
unusual lad used to be known as 
the Champion Gate Crasher of 
New York. His claim being that 
he could get in to any opening 
night, championship fight, world 
series and other events of im- 
portance on his personality. Some 
folks called it nerve but it got him 
in just the same. When he came 
to Hollywood it was feared that he 
would bounce that reputation to 
bits against the studio gates. Tam- 
many is now definitely inside. Just 
how much Bill had to do with his 
entree I don't know but when I 
said, "Things are looking pretty 
good for you, aren't they?" ho 
threw me the wink at which he ex- 
cels and with a nod toward our host 
said, "Yeah, and thanks to this swell 
eggl" If Bill is the egg it would 
seem Tammany must be the ham, 
because the two are inseparable. 

Bill apparently keeps open house. 
Two or three men walked past us 
with a "How're you, Boy!" and 
went into what I imagine must be 
the "Playroom" judging from the 
sounds of enjoyment I heard. 

To one man he called, "Take Jack 
first, will you?" 



"A trainer?" I asked. 

"Yes." Bill's eyes fell sheepishly 
to the former slim waistline. "I 
try to keep as fit as possible. I 
don't stay up late, any more. Play 
a bit of golf. Like to potter around 
the place, eat a bit, drink a bit. 
Oh! It's a great life, Elsie!" 

I must say he looks about as 
nearly like the well-contented man 
should as anyone I've seen since I 
used to marvel at the peaceful ex- 
pression on farmers' faces around 
and about Marysville, Ohio. He's 
headed for a farm, by the way. He 
was going out today to look at one. 

"Are you really going to farm?" 

"Well, no! but I want more room 
for my pottering. I want to put 
on my rompers and play," he 
grinned, and I grinned. I don't 
know what he was thinking about, 
but I was visualizing Bill in romp- 
ers. I'm still grinning. 

Radio, which is so busy "snitch- 
ing" screen personalities, is making 
alluring monetary gestures in his 
direction. Bill isn't falling for 
them yet. He thinks he has to be 
seen to be funny. Well, Eddie Can- 
tor, Al Jolson, Joe Penner, Jack 
Benny and other air aces must have 
thought the same at one time, so 
perhaps the millions who have 
never heard or seen him will have 
a chance to meet this mellow, kind 
and amusing W. C. Fields via the 
ether waves. I think he could ride 
them with great success, if they 
gave him a consistent story and a 
good character like the one he 
played in "The Old-Fashioned 
Way." It's nice, however, to meet 
someone who hasn't got "grabitis" 
when it comes to the big money. 
It has never been known to bring 
complete contentment and, as Bill 
seems to have that, maybe he's 
right to let others take the chances 
while he potters around in rompers. 

TV/TIND you, he only potters be- 
tween films, and his next pic- 
ture is about to start production, so 
the rompers will be parked for a 
few weeks. It's called "Back Porch" 
at present and is an original idea 
of his own. By the time you see it 
the title will be changed to "It's a 
Gift" and Bill won't recognize his 
bi*ain child, but from what he told 
me about it I wouldn't mind sit- 
ting on said "Back Porch" watch- 
ing him pull old tricks which his 
artistry polishes to a modern bril- 
liancy. He has plenty of them up 
his sleeve. He is an excellent 
character actor and other comedi- 
ans who might be saying "What's 
he going to do after he has done 
all his vaudeville stunts?" may find 
another twist to the ever familiar 
line ; "New Fields to Conquer." 















THE 


ART 


OF 




COOKING 


MEAT 










It's a 


fac 


t that most American cook 


., no matte 


r how 


exp 


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peels, lack skill and 


variety 


in cooking meats. 


Th 


sre has 


been 


a definite 


demand from readers 


for 


he 


P 


in cooking meat. This 


month's food circu 


ars have been prepared 


to 


meet this 


demand 


. Here 


they are: 






















1. 


Ru 


es 


and 


recipes 


for cooking 


beef. 






5. 


Cooking ham and oth 


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pre 


ducts. 






2. 


Ru 


es 


and 


recipes 


for cooking 


lamb. 






6. 


Ways of cooking and 


serving sausag 


e. 








3. 


Ru 


es 


and 


recipes 


for cooking 


veal. 






7. 


Cooking poultry, 












4. 


Ru 


les 


and 


recipes 


for cooking 


fresh pork. 






8. 


Cooking liver and oth 


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of 


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If y° u 


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copies 


of these circulars, send 


ten 


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of NEW MOVIE 


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cigazine, 


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58 



The New Movie Magazine, January, 1935 



"he Man of 84 Faces 



{Continued from page 21) 



gasped in complete amazement. 

"It beats me," confessed Fos- 
ter. "I really don't know." 

"But what is it — certainly 
something more than make-up?" 

"That's true," admitted Foster. 
"]\Iake-up and costume are just 
the props that set the character 
on first appearance. The groom- 
ing of the hair has a lot to do 
with it. Touselled hair suggests 
an eccentric individual, straggly 
sideburns a person of bad taste, a 
growth of beard a rough, tough 
mugg, and a stiff collar a poli- 
tician perhaps. But those are su- 
perficial characterizations. In life 
a well-groomed person may be a 
rat at heart. So that can't be 
entirely it." 

Foster meditated a minute over 
this strange faculty of changing 
his personality. 

"Someone said, 'The eyes are 
the windows of the soul,' " he con- 
tinued. "If you wish to judge 
character, study the eyes. In 
them you can find sincerity or in- 
sincerity, fearlessness or coward- 
ice, courage or despair. You 
know the first trace of insanity 
shows in the eyes. And if your 
eyes are covered or downcast, you 
can be anything." 

But Foster wouldn't attribute 
his diversity of characterization 
to a studied technique of using 
his eyes. 

"Gee," he said, "I don't know 
anything about the technique of 
acting like George Arliss who 
mastered everything there is 
about characterization. He's flaw- 
less. I don't pretend to have any 
technique. 

"I do believe I have an expres- 
sive face," admitted Foster. "It 
shows whatever I'm thinking. 
That's caused me plenty of 
trouble. When I was a salesman 
back in Philadelphia, I could 
never sell any person I instinc- 
tively disliked. Try as I would, 
I couldn't keep that dislike from 
registering in my face. 

"But that failure as a sales- 
man stands me in good stead as 
an actor. In all my batting about, 



selling washing machines and ad- 
vertising, singing in grand opera, 
and working on the stage, I've 
met all types of people. I have 
studied them and become inter- 
ested in them. I try to think as 
they think. When I'm called upon 
to play a role, I pick out some 
character from my past, and 
imagine how he'd think and act. 
I become that person. And per- 
haps it's that faculty, together 
with an expressive face, that has 
made me seem like so many dif- 
ferent people on the screen." 

If variety is the spice of act- 
ing, then Preston Foster admits 
he's enjoyed his career. He says 
that it's much more interesting 
than being just himself in a 
walk-through part. It necessitates 
a study of human psychology. 

"Of course," he admitted, "one 
doesn't become a definite screen 
personality by always being dif- 
ferent. It takes longer to become 
known and a name. The only 
persons I haven't deceived have 
been my parents. Friends have 
seen me in roles like 'Dr. X' and 
said they didn't know I was in 
the picture till they read my 
name on the main title. A the- 
ater usher after seeing 'Hoopla' 
wrote to find out how old I was 
and in what other pictures I'd 
appeared." 

"And how do you feel about 
your new contract?" I asked. 
"Will you be yourself?" 

"That, of course, I don't know," 
he replied. "I hope not." 

He paused before continuing. 

"It's kind of a dangerous spot," 
he observed. "Stars like Craw- 
ford, Harlow, and Garbo are all 
so glamorous one is likely to be 
forgotten." 

I looked at his full, blue eyes 
. . . his set face. And I read in 
them a fierce challenge, the chal- 
lenge of a man who'd told many 
bosses to take it and like it, who'd 
seen life, been battered by it and 
come up smiling. 

There was a fearless look in 
those eyes that said, "I'm afraid of 
nothing — not even Garbo." 



John Gilbert in "QUEEN 



Movie Highlights of the Year 

(Continued from page 37) 

JANUARY — Charlotte Henry, Jack Oakie as Tweedledum, and 
Roscoe Karns as Tweedledee, in "ALICE IN WONDERLAND." 

FEBRUARY— Greta Garbo and 
CHRISTINA." 

MARCH— Anna Sten in "NANA." 

APRIL— Wallace Beery in "VIVA VILLA." 

MAY— Myrna Loy and William Powell in "THE THIN MAN.' 

JUNE— Ronald Colman in "BULLDOG DRUMMOND STRIKES 
BACK." 

JULY— Frank McHugh and James Cagney in "HERE COMES THE 
NAVY." 

AUGUST— Claudet+e Colbert in "CLEOPATRA." 

SEPTEMBER— Mae West in "BELLE OF THE NINETIES." 

OCTOBER— Norma Shearer and Fredric March in "THE BARRETTS 
OF WIMPOLE STREET." 

NOVEMBER— Greta Garbo in "THE PAINTED VEIL" 

DECEMBER — Jeanet+e MacDcnald and Maurice Chevalier in "THE 
MERRY WIDOW." 



4****STAR PICTURES 
YOU SHOULD SEE / 



WARNER MYRNA 

BAXTER- LOY 




A FRANK CAPRA Production 

" ed on the story by 

ROBERT RISKIN MARK HELLINGER 

WALTER CONNOLLY HELEN VINSON 



"ONE NIGHT OF LOVE" CHARMED YOU 

'1ADY FOR A DAY" WON YOUR ACCLAIM 

"IT HAPPENED ONE NIGHT" GAVE YOU HAPPINESS 

The same producers now give you the charm and joyousness 
of all in this grand and glorious romantic comedy. 



THE CAPTAIN 

HATES ^ SEA 

A LEWIS MILESTONE Production 

VICTOR McLAGLEN JOHN GILBERT 

ALISON SKIPWORTH WYNNE GIBSON HELEN VINSON 

Walter Connolly Fred Keating Leon Errol 

Walter Catiett Tala Birell 



A brilliant all-star cast of fun-makers and heart-breakers 
laugh-bound on one of the gayest ships that ever rolled 
in a hurricane of hilarity. 

A mad, merry comedy that will rock you from stem 
to stern. 



■-^1ij3i!JIS2t~>- 




LADYfyCHOICE 



'*4 



CAROLE 



H 



LOMBARD ROBSON 

ROGER PRYOR and WALTER CONNOLLY 

Story by Dwight Taylor Screen play by Jo Swerling 

Directed by David Burton 



A great picture, says Screen Play magazine. 

Better see this film soon, adds Photoplay magazine. 

And Screenland magazine tells its readers, ' You d 
better not miss this. 



One Night of Js>vc 



TULLIO CARMINATI • LYLE TALBOT • MONABARRIE 

Slory by DOROTHy SPEARE and _ 

CHARLES BEAHAN Directed by 

JSr£S**£}£g^ " VICTOR SCHERTZINGER 



Thousands are seeing this reigning musical romantic sensation time and 
again. You, too, will want to see it more than once and experience each 
time new joy and greater entertainment. 



Ask for these COLUMBIA pictures at your favorite theatre! 




The Netv Movie Magazine, January, 1935 



59 



"WE'RE HAVING 

HEINZ 
SPAGHETTI 

TONIGHT, NORA" 




EACH day thousands of grocery lists in- 
clude Heinz Cooked Spaghetti. It is 
such an appetite-enticing main dish, and 
so inexpensive and quickly fixed for 
serving! Tender strands of Heinz-made 
spaghetti come to you adrip with a sauce 
which many good cooks admit is better 
than their own concoctions. Made of ripe 
tomatoes, imported cheese and meat stock, 
deftly seasoned with just the right spices. 
It is rare good fare. Warning: Prepare for 
clamorous demands for second helpings. 



H. J. HEINZ COMPANY 

PITTSBURGH, U. S. A. ■ TORONTO, CANADA 
LONDON, ENGLAND 




The Most Exciting Street on Earth 



and toes. Better than $12,000. He 
instantly became, on his personal 
adding machine a $52,000 a year 
man. And so he was — for twelve 
weeks. 

Came the end of the contract. 
Came no renewal. This writer, 
departing, left with a newspaper 
interviewer an opinion of Holly- 
wood that would smoke the hide 
off an alligator. This writer re- 
turned bitterly to his beloved New 
York — to do his damnedest to 
write another book which will 
entitle him to a return trip to 
the city of fatted calves! 

Among his parting remarks was 
the observation that Hollywood 
Boulevard is a sordid, dirty, over- 
rated alley. 

I hold no brief for or against 
this fellow's attitude. Perhaps the 
experience will enrich his philoso- 
phy. But his opinion is not an 
opinion. It's a prejudice. 

I HAVE sold many of my stories 
to the movies. Naturally, I'm not 
bitter about it, although I firmly 
believe that the intelligence of the 
movie -makers, where correctly 
fashioned dramatic stories are con- 
cerned, is awfully limited. 

Let's try to get at the soul of 
Hollywood Boulevard. You are a 
discerning person and you know 
that the spirit of Hollywood is 
the spirit who rose from the 
creaming waves off Crete so many 
thousands of years ago, clean- 
limbed and lovely, with jewels in 
her hair, glamour in her smile and 
danger in her voice — Aphrodite, 
goddess of love, or, if you will, of 
amorous desire. 

Aphrodite is, as you know, the 
spirit and the mother of Holly- 
wood — a coquette forever renewing 
her youth in the soft, pink, scented 
flesh of the newcomers. 

Motion picture studios, as you 
are also aware, are her temples. 
Temple-factories. In these temple- 
factories, the love-making habits 
of the world are forged and ham- 
mered into being. 

There is a nice argument here. 
Hollywood, we freely admit, is the 
sex capital of the world. Holly- 
wood's temple-factories not only 
set the styles in love-making the 
world over but they determine the 
moral code of the age. Or do they? 
The producers say not. The pro- 
ducers say they are merely reflect- 
ing the changing moral standards. 
Fight it out among yourselves. 

The point is, however, that 
Hollywood Boulevard must, by the 
very forces which made it the 
street it is, point toward sex. 

Ask a beauty-contest winner 
from Kissimmee, Florida, or Oska- 
loosa, Oklahoma, who has been 
screen-tested and signed up by a 
big, indulgent producer — ask her 
what she thinks of Hollywood. 

Ah, place of glorious enchant- 
ment! Ah, city of golden dreams 
come true! Hollywood Boulevard, 
to this happy lass, is Main Street, 
Eldorado, or el camino encantado — 
the enchanted street. Its smart 
shops fawn and its pitfalls yawn. 
Everybody loves her. Every 
chiseler in Hollywood sharpens his 
steel for this newest delectable, 
dizzy, dazzled, dazzling darling. 

This newcomer with her shining 
eyes and flushed cheeks and enrap- 



(Continued from page 19) 

tured smile, this darling of the 
gods, this nectareous nymph, this 
gal who is getting the breaks — 
she drives along the enchanted 
Boulevard in a grand new roadster, 
all bright enamel and glittering 
chromium. 

But look at the ones on foot — 
the ones with stories in their 
faces. They are usually beautiful, 
or nearly beautiful. Their make-up 
has been skilfully applied, but 
they have a certain look of pallor 
under the delicate artificial color- 
ing. Their eyelashes are long and 
black with a alluring upward tilt 
— but the eyes below look worried. 

Here is one approaching. Look 
at her carefully. She walks with 
an air of jauntiness, her eyes 
scanning the oncoming faces 
brightly, and her lovely lips hold- 
ing the faintest suggestion of a 
smile. For one never knows when 
a watchful director may be stroll- 
ing on the Boulevard. 

But look her over. The seat 
of her dress is waffle-patterned 
by the cane bottoms of casting 
directors' waiting room chairs. 
Her heels are worn down by the 
studio-to-studio trek. Her clothes 
have that week-before-last look. 
Not yet seedy; but not fresh, not 
crisp. Nothing about her is crisp. 
Who is she? What's her story? 
What's her fate? Almost every 
week, it seems to me, one of these 
soul-sick children jumps out of a 
high window or turns on the gas. 

LJOLLYWOOD Boulevard isn't el 
*■ -*■ camino encantado to this 
youngster — it's el camino doloroso. 
Don't ask her what she thinks 
about Hollywood. She doesn't 
know. She doesn't know what she 
thinks about anything. Let's hope 
she can take it. Let's hope she 
has moral fibre tough enough to 
stand the strain until the breaks 
come her way — if they come. 

And then there are the ones 
who have proved they have that 
moral fibre. They have arrived. 
They are "the stars." You may 
see them lunching animatedly in 
the Brown Derby, Sardi's, the 
Vendome. These gods and god- 
desses, these big shots, go, of 
course, to these places to be stared 
at. If you're lucky, you may see 
Joan Crawford, the screen's most 
ambitious girl, lunching at Sardi's 



with P'ranchot Tone, the screen's 
smoothest young man. In the 
Brown Derby, you may see Wal- 
lace Beery strutting his recently 
adopted daughter. You don't, of 
course, see Garbo anywhere. 

V7"OU look in vain for signs of 
1 dissipation in these people. The 
goddesses have rose-petal com- 
plexions, the gods clear eyes and 
lean jaws. For the night life 
of the gods — of most of them — has 
become, in recent years, compara- 
tively quiet. Many of them don't 
know just how long their present 
fat incomes will last. Generally, 
they're leading quiet, stay-at-home 
lives. Practising economy. Read- 
ing books. Bearing in mind that 
early to bed and early to rise 
makes a star at least healthy and 
wealthy. The famous wild parties 
of Hollywood are not a thing of 
the past, but they are fewer. 

Since repeal, most of the cabarets 
have been closed for violation of 
the Los Angeles liquor ordinances. 
But in those few which remain, 
one glimpses an occasional favor- 
ite — one of Hollywood's more 
prominent drinking young stars. 
He is accompanied usually by a 
crowd of people very aware of the 
fact that they are accompanying 
him. They guard him jealously. 
They see that he has plenty to 
drink, and that the girl he prefers 
sits besides him. He is, for his 
little hour, as important as a 
visiting Roman emperor. His face 
is rather blank. 

You may also see the stars shop- 
ping on the Boulevard. But it takes 
longer than a few months to 
grow used to seeing them in the 
flesh. When I go into a store to 
buy a hat or necktie, and one of 
the reigning favorites happens to 
drop in, I am almost as thrilled 
as the shop girls — and they are 
almost paralyzed. 

But the ones who have arrived, 
"the stars," do not stir my imag- 
ination so much as the girls who 
trudge along Wicked Boulevard 
with stories in their faces — stories 
of success and failure, of hope 
and humiliation. For it is these 
girls — the never-ending procession 
of them — who have built Holly- 
wood Boulevard and made it the 
fascinating, glamorous, wicked 
thoroughfare it is today. 



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60 



The New Movie Magazine, January, 1935 



Can You Buy Stardom? 



urged her to show the pictures 
to studio officials. She did. Or 
rather a friend of hers did. So 
impressed were Paramount exec- 
utives that they asked for an 
interview with this new patrician 
beauty. She came, they saw, she 
conquered. Without further ado 
they signed her to a contract. 

These two ladies did not follow a 
tradition for which Hollywood is 
notorious. The cult of the false 
front! Pretense. Sham. Affecta- 
tion of manner and manufactured 
background. They didn't have to. 
But many aspirants come to grief 
because they put on such airs. 
Young hopefuls in search of a 
career seem to be infected with 
this virus almost as soon as they 
arrive. Spending their last dime 
on one desperate attempt they'd 
buy an expensive gown, hire a 
Rolls Royce, and sweep out to a 
studio condescending to give the 
natives a break. This seemed to 
be the Hollywood manner. They 
thought that they had to live up 
to it. 

At first studio executives were 
■ really impressed. They felt 
honored to put them in a picture. 
But things went to such extremes 
they became a joke. 

Now money and social position 
have their drawbacks. It may 
enable a person to dress attrac- 
tively and meet picture celebrities 
on a social basis, but it is apt to 
classify one as a play boy or play 
girl. You don't need money, so 
why work? There are not a few 
people who have got into such a 
stalemate. In their hearts there 
is a desperate longing for a film 
career. But no one will take 
them seriously. If they mention 
work their picture friends laugh. 
No more than a pat on the back 
with an amused wisecrack. 

For all of these reasons the 
careers of the following heiresses 
are illuminating as well as in- 
structive. 

In one respect Virginia Peine is 
an exception. Her real name is 
Virginia Peine Lehmann. 

When Mrs. Lehmann came to 
Hollywood with her two-year-old 
daughter, secretary, a nurse and 
maid, she carried a letter of in- 
troduction to Buddy De Sylva, 
the director of musicals at Fox. 
She called him on the phone. Be- 
cause of the letter from a mutual 
friend, Mi'. De Sylva agreed to 
an appointment. He was pot 
acquainted with her real identity. 
He fully expected to dismiss this 
movie struck Virginia Peine after a 
moment's polite conversation. But 
when he saw a beautiful, lissome 
blonde sweep into the office he 
immediately changed his mind. He 
tossed the letter aside. He eagerly 
questioned her about her experi- 
ence. She shook her head. None. 
But Mr. De Sylva was too enthu- 
siastic to let that stand in the 
way. He arranged for a screen 
test. He saw the test and was en- 
thusiastic enough about it to put 
her in "Bottoms Up." 

Katherine Flynn's brief career 
has been much different. Her 
uncle, the late Daniel Miles Flynn, 
left her a large share of the 
fortune he had amassed in turpen- 
tine and rosin throughout the 



(Continued from page 20) 

southern states. As soon as Kath- 
erine came into her inheritance 
she left for Hollywood. She 
arrived unknown. But within three 
weeks she had spent nineteen 
thousand dollars. 

THE lavish parties which she 
gave to various film celebrities, 
however, did not secure for her 
the coveted opportunity in pictures. 
She tried something else. Changing 
her name to Kitty O'Dare she 
began dancing at the Club Bally- 
hoo. She had had some experi- 
ence on the stage and now her 
dance, the Shim Sham, created 
quite a sensation. A newspaper- 
man saw through her nom de 
plume. A night club heiress! 
Publicity ran wild. 

But still nobody offered Kather- 
ine a screen test. Her Hollywood 
friends, Jimmy Durante, Jack La 
Rue, George Bancroft and others, 
tried to guide her over the first 
perilous steps of a screen career. 
But by this time her mother got 
wind of what was going on and 
flew out from New York. Kather- 
ine had to change her tactics. 
No more shim shamming. No 
more parties. After another month 
of waiting Kitty gave in to her 
mother's entreaties and left for 
a jaunt through Europe. She left 
with one consolation. Jean Har- 
low had unstintingly praised her 
dancing. 

Janet Snowden, the nineteen- 
year-old daughter of James H. 
Snowden, the multi-millionaire oil 
man, has perhaps been the wisest 
of them all. She and Doris Duke, 
the tobacco heiress, and Barbara 
Hutton, now the wife of Alexis 
Mdivani, have been intimates since 
they were classmates at the Fox- 
croft School in Aiken, South 
Carolina. All of them have moved 
in and out of the spotlight. A 
short time ago Janet had New 
York society agog. Meeting Prince 
Don Francesco Caravita when he 
arrived in New York from Italy, 
she eloped with him within twenty- 
four hours. Within five days she 
had the marriage annulled. A few 
weeks later while staying at her 
mother's home in Poland Springs, 
Maine, Janet was threatened with 
kidnaping. Then she disappeared. 
A wireless message from the liner 
Santa Theresa revealed that she 
was on her way to California 
with a secretary. Debarking at 
Los Angeles, she vanished "into 
Hollywood" to take up a film 
career. 

William Gill, the husband of 
the late Renee Adoree, became 
her manager. He began training 
her with the best dramatic 
teachers available. Her fellow 
student was Paulette Goddard 
whom Charlie Chaplin is keeping 
under cover for his next picture. 
Executives at Warner Brothers, 
impressed by her dark piquant 
beauty, offered her a contract. Her 
manager persuaded her to turn 
it down. She was not ready. Win- 
field Sheehan finally secured her 
promise to give Fox first call on 
her services as soon as she felt 
she was ready to face the camera. 
Slipping off to Mexico Janet mar- 
ried William Gill. Hollywood 
wonders just how her career will 
turn out. 



Kitty Carlisle is just getting into 
her stride. If nothing untoward 
happens she ought to skyrocket up 
among the stars. In her last pic- 
ture, "She Loves Me Not," her 
ability really began to register. 
Her foundation has been solid. 
Her father, a New Orleans physi- 
cian, died when she was eight 
years old and left a comfortable 
fortune. Her mother took Kitty 
to Lausanne, Switzerland, where 
she was put in school at the 
exclusive Chateau Mont Choisi. 
After that it was winters in Paris 
and summers in their villa on the 
Riviera. A year in Rome per- 
fected her Italian. Tutoring in 
Paris sharpened her wits so that 
after her debut in the fashionable 
world of the French capital she 
became a leader in the younger 
set. But society palled. She wanted 
a career. 

If Kitty had not felt a strange 
homesickness for a native land 
which she had not seen in years 
she might now be the toast of 
Europe. An operatic career was 
waiting when she insisted on a 
return to America. Back in New 
York in June 1932 she entered a 
competitive test and was chosen 
to sing a lead in a condensed 
revival of "Rio Rita." After a year 
with this production she accepted 
an engagement to play a lead in 
"Champagne Sec." By this time 
Hollywood was attentive. Very. 
A contract was laid before her. 
This kind of introduction is the 
best that can be obtained. A 
personal invitation. No solicitation. 
No attempt to win the favors 
of the fickle goddess of films. 

Hazel Forbes combines a pic- 
ture career with executive respon- 
sibilities. She was appearing in 
Ziegfeld's "Whoopee" when she 
met young Paul Owen Richmond 
who had amassed a fortune in 
dental and cosmetic lotions. Court- 
ship ended in matrimony. In her 
happiness Hazel forgot the stage. 
Then her husband died. Wandering 
around the world trying to find 
happiness once more she and her 
mother finally settled in Holly- 
wood. Her blond loveliness was 
like a song. An agent finally 
persuaded her to try pictures and 
she did so well in "Down to Their 
Last Yacht" that RKO put her 
under contract. 

Her future will be devoted to 
pictures except for quarterly trips 
to New York to attend meetings of 
her Board of Directors. In Holly- 
wood she is seen with Ginger 
Rogers and Sally Eilers. Jack 
Oakie is one of her many escorts. 

THESE heiresses have added a 
piquant spice to the social whirl 
of the film capital. Each has a 
dash of personality and indis- 
putable good looks. Hearts have 
been entangled. But can money 
buy a film career? A fortune may 
command attention but it cannot 
buy blue eyes if you happen to 
have brown, purchase a merry 
heart if you are disposed to melan- 
choly or make an actress of one 
who has no talent for the art. 
Some of these heiresses have 
indisputable talent and will rise, 
perhaps, to the dizziest heights; 
the others will soon be seen in the 
fashionable resorts of the world. 



"YES, MA'M, 
AND WE'LL NEED 

HEINZ 
KETCHUP,™- 



/"-- 




SO many men always seem to need Heinz 
Tomato Ketchup with their meals that 
it's by far the largest selling ketchup in 
the world. Rich, red drops that give de- 
licious and definite flavor to all sorts of 
things. Meats, fish, eggs, croquettes, hash, 
baked beans, and many other dishes. 
Heinz chefs take the time and pains to 
make it richly thick with the flavors of 
fresh-from-the-garden red tomatoes and 
rare good spices. Always say Heinz to 
your grocer. 

H. J. HEINZ COMPANY 

PITTSBURGH, U.S.A. • TORONTO, CANADA 
LONDON, ENGLAND 




The New Movie Magazine, January, 1935 



61 



Stop a 

COLD 

the First 
Day! 

Drive It Out of Your System 
—Roots and All! 

A COLD once rooted is a cold of dan- 
ger! Trust to no makeshift methods. 

A cold, being an internal infection, 
calls for internal treatment. 

A cold also calls for a COLD remedy 
and not a preparation good for a number 
of other things as well. 

Grove's Laxative Bromo Quinine is 
what a cold requires. It is expressly a 
cold remedy. It is internal and direct — • 
and ic does the four things necessary. 

Four Effects 

It opens the bowels. It combats the 
cold germs and fever in the system. It 
relieves the headache and grippy feeling 
and tones and fortifies the entire system. 

Only Grove's Laxative Bromo Quinine 
supplies those four effects and anything 
less than that is inviting trouble. 

Get Grove's Laxative Bromo Quinine 
at any druggist, 35c and 50c. The 50c size 
is the more econom- 
ical "buy." Ask for 
Grove's Laxative 
Bromo Quinine by 
the full name and 
accept no substitute 
on any pretext. 




A Cold is an 
Internal Infection 
and Requires 
?rnal Treatment^/ 



GROVE'S LAXATIVE 

BROMO 
QUININE 



Listen to Pat Kennedy, the Unmasked Tenor 
and Art Kassel and his Kassels-in-the-Air 
Orchestra every Sunday, Monday, Tuesday 
and Thursday, 1:45 p. m. , Eastern Standard 
Time, Columbia Coast m to* Coast Network. 



those lovely, old-fashioned gowns. 
Mr. Laughton and Fredric 
March were so very good which, of 
course, is usually the case — while 
Wilson, the maid, capped the 
climax! — Mrs. Sarah Finley, Gen- 
eral Delivery, Highland Station, 
Springfield, Mass. 

And also, it was a better story. 

To the Past 

ON behalf of all the fans who 
"remember when," I want to 
thank New Movie for the splendid 
article about Marguerite Clarke. It 
took me back so vividly to child- 
hood days, and golden hours spent 
at the corner movie. Marguerite 
Clarke in "Miss George Washing- 
ton," "The Amazons," "Prince and 
the Pauper," and "Bab, the Sub- 
Deb." We've never forgotten them, 
nor the enchanting little person 
who remains a glamorous memory 
to all who look back gratefully at 
the many happy hours she gave us. 
Thanks again. New Movie and 
Irene Kuhn, for giving us the story 
about her. We loved it! — M. Kelly, 
UU Clara Street, San Francisco, 
California. 

And thank you, M. Kelly. 

The Sensible Attitude 

"VX/TfEN I was a kid of twelve or 
* * so, eating popcorn in the front 
row of the local picture house, a 
certain very-much-grown-up film 
actress was vamping the celluloid 
men. Now I am a very-much- 
grown-up lady myself, and I am 
more than slightly surprised to 
learn that the actress, according to 
her own figures, is now just two 
years my senior. 

Why do screen stars feel it nec- 
essary to lie about their ages? 
Few fans are so stupid as to be- 
lieve that an actress can serve an 
apprenticeship on stage and screen, 
and still be sweet sixteen after 
many years of starring. If a wo- 
man is as charming at thirty-nine 
as at nineteen, the public won't as- 
sign her to the old ladies' home 
because of the added birthdays. — • 
Mae Ashworth, 118 W. Ninth 
Street, Mt. Vernon, Ind. 

Ah-ha! Did you see our story on 
The Battle of the Ages, last month? 

Best Ail-Round Actor 

\X7"ITH all the various medals 
*" and cups that are awarded 
each year to the best picture, the 
best cartoon, etc., etc., I would sug- 
gest that a special medal be 
awarded — for the actor giving 
the best consistent performances 
throughout the year in every pic- 
ture in which he appears. 

And I nominate Lewis Stone as 
the one actor who deserves such an 
honor — and he has deserved it for 
many years back. Whether his part 
is small or large or indifferent, 
there he is making it count — 
strengthening the picture and 
stealing every scene he is ever in. 
— Mary Judge, 222 West U9th 
Street, Neiv York City. 

Years and years of experience have 
given Lew almost unlimited versatility, 
Mary. Hollywood respects him for it. 



You Tell Us 



{Continued from page 42) 

Old Kentucky Home 

'"TIME'S curtain rolled back and 
I relived the days of youth in 
"My Old Kentucky Home." Will 
Rogers in "Judge Priest" finds his 
ideal role and the supporting cast 
is flawless. They appeared to me 
just like the folks with whom I was 
raised. I recognized the pool-room 
loafer, the farm clod-hoppers, the 
village gossip and the rest of the 
folks. 

There are no super thrills or ex- 
traordinary climaxes in this pic- 
ture but you go away with that 
perfectly satisfied feeling. There 
are subtle tuggings of heart 
strings, a little moisture in the eyes 
and many deep chuckles at the 
home-spun humor of the lovable old 
justice. 

Here is one production that no 
creed or sect can find fault with 
and if Mr. Rogers never does bet- 
ter he can rest assured that he 
reached perfection once. — N. H. 
Young, 912 W. First Street, Los 
Angeles, California. 

Appreciation like this is what Will 
lives for. It will make moisture come 
to his eyes, too. 

On Franchot 

*~pHE story about Franchot Tone's 
■*• home and background in the 
October issue was enjoyed very 
much by the writer. I have been 
looking for just such an article 
about Mr. Tone, and it fit in per- 
fectly with my idea of what he 
appears to be and the kind of a 
family to which he should belong. 

He has much more to give to the 
screen than he has shown so far, 
and I am sure one of these days, if 
he gets the right part, he will be 
one of our finest stars. Excellent 
actor that he is, however, it is go- 
ing to be difficult for him to play 
certain types because he definitely 
gives the impression of being well- 
bred and a gentleman. And I hope 
Hollywood doesn't change him into 
anything different. 

I should like to see Metro give 
him some strong parts, which, to 
date, they have not done. It has 
been up to 20th Century in "Moulin 
Rouge" to show his flair for com- 
edy and Fox with "The World 
Moves On" to prove his dramatic 
talent. I am still hoping to see him 
in "Oil for the Lamps of China" 
under Metro, as was announced be- 
fore.— E. W. White, 52U7 Florence 
Avenue, Philadelphia, Pa. 

An intelligent and well-expressed letter. 

Pure Praise 

''TRIBUTE to a grand little 
*■ actress: Frances Dee has been 
good in all the pictures she has 
played in, yet nearly every time, 
when her role was not so big, the 
"big" star got all the credit. At 
least she should be getting some 
praise, certainly she deserves it. 
Every time I go to see one of her 
pictures I can actually feel my 
blood boil! — And besides that — I 
never can wait until her next pic- 
ture comes — so anxious am I to see 
it. Yet it's usually just a small 
part when it should be big. Thank 
goodness she's had a "break" and 
was given the lead in such pictures 



as "Coming Out Party," etc. 
(There's a good team for you — 
Gene Raymond and Frances Dee!) 
I make a move that we see more of 
her in the future than we did in 
the past! — Elena Giorni, 320 W. 
87th Street, New York, N. Y. 

Frances is very young, Elena, hence 
her parts are limited. As she becomes 
more mature, her scope will grow also. 

Boles vs. Chevalier 

AFTER seeing John Boles' latest 
"^ picture — I still think he should 
have played opposite Jeanette Mac- 
Donald— in "The Merry Widow." 

Remember — "The Desert Song." 
It took someone like him to play 
the part. Why not give him an- 
other big chance where he can show 
the ability of his splendid singing 
voice? — Marie Bradley, 208 W. 
Godfrey Avenue, Philadelphia, Pa. 

Has "Music in the Air" answered your 
prayer, Marie!' 

What's Wrong? 

T SAW "The Scarlet Empress" re- 
■*■ cently and I could have wept ! ! 
To see a marvelous actress like 
Marlene Dietrich going to waste in 
a hodge-podge of symbolism and 
trick photography like that is a 
crime! What's wrong with Von 
Sternberg? Is he trying to queer 
Marlene with the American audi- 
ences? Or is he just — nuts? — 
Mary Hickey, 171 Ocean Avenue, 
Jersey City, N. J. 

Ahem! What fine weather we've been 
having lately, Mary. You decide. 

An Ardent Admirer 

TpVERY time I see Kay Johnson 
■^ I am forcibly struck by her 
personality. She seems a person 
whom experience has mellowed, 
sweetened, dignified ; to whom the 
fulness of life has given gracious- 
ness, integrity, understanding. 

There is something fine, clean, 
and gallant about her. You feel 
you'd like to know her, that you 
would be a little better for having 
met her. She has poise, serenity; 
she could be a good friend. In 
short, she seems a grand person. 

Kay has a soft, glowing radiance. 
She is a true sophisticate. — Mary 
Irene Woodruff, 26 Monument 
Square, Charlestoivn, Mass. 

You'd think we were Kay, the way 
we're blushing. 

British Agent - 

JUST a word of reproach to the 
«J producers who saw fit to waste 
Leslie Howard in such a dull pic- 
ture as "British Agent." With his 
poignant performance as Philip in 
"Of Human Bondage," and the 
amusing and lovable hero of ''The 
Lady is Willing," it seems a shame 
to put him in anything so unworthy 
of his talents. Here's hoping he 
gets only the worth-while stories he 
so deserves in the future. — Edna 
Walters, 300 Pine Street, Wilson, 
N. C. 

Watch for "The Scarlet Pimpernel," 
Edna. 



62 



The Neiv Movie Magazine, January, 1935 




New ideas of gifts you 
can make for the young- 
est boys and girls 



Wi^M 




Ja.3S7 




Ja.359 




Ja.361 



Ja.363 



Floor cushion made 
of glazed chintz with 
amusing applique. 

The new bathing 

apron made of a 

bath towel. 



Easily adjusted 

baby's beret knitted 

from soft wool. 



Washable towel 
cover for the tiny 
hot water bottle. 

Reversible crocheted 

afghan for crib or 

carriage. 

Thumbless mittens 

easily crocheted 

from soft wool. 

Baby's feeding bib, 
with bunny design. 

Knitted sacque with 

convenient front 

opening. 

Flannel carriage 
bootees worn over 
shoes or stockings. 




If you would like patterns and 
directions for making these 
gifts, please turn to page 67. 



Ja.355 



Crib spread and pil- 
low cover bound with 
colored checked 
gingham. 




Ja.356 




Ja.358 




fci 



Ja.360 




Ja.362 




The Lovelj Golden Hair 

iere ft Little Girl- 
Why Not Have it Asam 




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BLONDE HAIR— SAFELY, SKILLFULLY 
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Remember — Nature gave you pretty blonde 
hair — you have every natural right to keep 
your hair as lovely as nature created it. 
Give blonde hair the special simple treat- 
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lustrous golden tints will creep back into 
) our hair. 

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The Marchand hair experts have spent a 
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proven a thousand times over. Right now 
thousands of women are using this fine 
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Some women want radiant, striking blonde 
hair — others want only to give their hair 
a tiny, highlight tint — without making a 



decided change in the shade. Marchand's 
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effect can be controlled very closely. Hair 
can be lightened a tiny shade at a time 
until you obtain the tint that pleases you 
most. New hair growing in can easily be 
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Marchand's is perfectly safe, it is not a 
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Restore youthful golden beauty with Mar- 
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today. 

Also Makes Arm and Leg Hair Invisible! 

The same reliable Marchand's makes dark ex- 
cess hair INVISIBLE like the light unnotice- 
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because you do not cut or attempt to destroy 
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send me a regular bottle of Marchand's 
Golden Hair Wash. T.G. 135. 



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The New Movie Magazine, January, 1935 



63 



162 HANDS TALK 

IN 7-DAY 
MANICURE TEST 



Test proves Chic Nail Polish 

equal to "salon" polishes 

costing 75c or more 





This test was made with Chic, costing only 
10c, on one hand and an expensive "salon" 
polish on the other. The polishes were sup- 
plied in plain unlabeled bottles, simply marked 
"A" and "B." The women testing them did 
not know which was which. 



"A" — expensive 
"salon" polish 

"B"— Chic 
Nail Polish 



After 7 days' wear the results show — 

81% find Chic equal to costly salon polishes 
or better . . . and two out of three of them 
say Chic is actually better and give definite 
reasons for saying so ! 

This test proved to them that Chic Nail Polish 
applied evenly and did not crack or peel . . . 
that Chic retained its color ... that its luster 
was of lasting quality. 

You can make this simple test yourself and 
discover a really fine polish for only 10c. 



5 CHIC SHADES 

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PINK 
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RUBY 

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ChicCreme Polish 
Chic Cuticle 

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AT THE 10c STORES 




Hollywood Day by Day 



legged dolls, staring' vacantly from 
every corner. . . . 

And we're just willing to bet that 
somewhere in that lovely home is 
something the modern girl has ne- 
glected in the past few years ... a 
hope chest! 

Don't disillusion us, Mary. How 
about it? 



Katharine Hepburn gave the photog- 
raphers another swell break when she' 
sat all through the performance with 
both hands over her famous face! 

If she only knew it, the flashlight 
boys wouldn't be half so interested if 
Katie just sat quietly and let them have 
their way with her. It's the ludicrous 
contortions she goes through that en- 
dear her (as a subject) to their photo- 
graphic hearts. 

It just occurred to us . . . d'you 
suppose . . . ? Why, Katie, . . . aren't 
you the smart one! 

Out by the animal cages, Cary 
Grant and Jack Oakie made the 
most gosh-aivful faces at the mon- 
keys, who returned the salutes ivith 
dead pans that would have made 
Buster Keaton green with envy! 
• 

With Dick Powell far, far away, Mary 
Brian has been going places with a tall, 
dark and handsome lad who might be 
the original answer to any fortune 
teller's prediction! 

Powell's new home is nearly finished, 
and, before he left on a personal ap- 
pearance tour, it did look as though 
Mary was the obvious picture for that 
particular frame. But, now . . .? 
Oh, well , - . maybe "dark 'n handsome" 
is just a second cousin from Texas? 
• 

On the "Bengal Lancers" set, Di- 
rector Henry Hathaway was dar- 
ing "Cracker" Henderson to pet a 
dangerous looking leopard. 

"Phooey!" Cracker sniffed. "I 
should commit suicide!" 

"He won't hurt you," the trainer 
assured the timorous Cracker. 
"His teeth are all out." 

"Maybe so," Henderson argued, 
"but he's still got gums!" 
m 

If we can eat crackers in bed, then 
Herbert Mundin has a perfect right to 
an idiosyncrasy or two. 

At the Assistance League luncheon, 
Mundin chose an obscure table, as far 
from the chattering crowd as possible, 
explaining that he liked to eat in silence. 

And then, the first thing he ordered 
from the waitress was ... a double 
serving of celery! 

Some fun on the M-G-M lot these 
days! 

In the new Gable-Crawford opus, 
Joan is supposed to slap Clark's 
face, whereupon the impulsive lad 
hauls her across his knee (Adrian 
model and all!) and dishes out a 
right smart ker-walloping with an 
old-fashioned hair brush ! 

Just before the "take," Joan ap- 
proache'd Gable beseechingly. 

"Listen, pal," she bargained, 
"you go easy with me, and I'll do 
the same for your slap. How's 
about it?" 

"Nothing doing!" Clark ob- 
jected. "Slam away, me proud 
beauty, and expect no quarter from 
this end!" 



(Continued from page 7) 

"0. K, then," Joan shrugged. "I 
can take it!" 

Came the "take." Came Clark's 
rough speech. Pulling back the old 
"right," Crawford yanks a hefty 
slap from her top hair and plants 
it on the Gable button. Wham ! 

Coming out of a near tail-spin, 
Clark snaps the rough lady into po- 
sition across his knee and grabs 
the hair brush. 

It's a scene that the M-G-M gang 
will never forget . . . and least of 
all, Joan Crawford. Bam ! . . . Bam ! 
. . . BAM ! Here come the British ! 

And you can leave Joan out of 
your early morning canters for 
some time to come! 



Director Lowell Sherman plans to 
have a lot of fun when "Night Life 
of the Gods" has finished produc- 
tion. 

We wondered what Universal 
would do with all the statues, made 
especially for this picture and 
copied from living models in the 
cast. A lot of suggestions were of- 
fered, but Sherman's idea seems to 
be the most fitting. 

"After the picture is finished," 
he whispered confidentially, "I'm 
going to find some friend to help 
me distribute these plaster atroci- 
ties on somebody's lawn!" 



Our Eskimo brothers have a 
quaint way of expressing their ad- 
miration for favorite movie stars. 
Instead of saying it with flowers, 
they say it with a husky Eskimo 
dog. And if you think those hefty 
animals aren't hard on groceries, 
just ask Marian Nixon, one of the 
latest recipients of an Alaskan 
husky! 

• 

Elizabeth Allan is suffering from 
a bad case of mistaken identity. 

Before Mrs. Bob Montgomery an- 
nexed the likable Bob, her name 
was "Elizabeth Allen," too. The 
befuddled fans have managed to get 
our Elizabeth and Bob's Elizabeth 
all tangled up with each other, with 
the result that the actress has been 
deluged with fan mail, telling her 
what a lucky woman she is to have 
such a handsome, dashing husband, 
how does romance stand the strain 
of working with her own lord and 
master? And stuff. 

As our Elizabeth has a perfectly 
good husband of her own, she has 
asked us to give her a lift in 
straightening out the difficulty. 



The other day, Clark Williams, Uni- 
versal player, received a wire addressed 
to his Scottie, George. The wire read: 

"Dear George . . . Hamburgs and open 
house Sunday . . . Bring Clark along, 
(signed) : Mike & Pete." 

P.S. Mike and Pete are two Scotties 
belonging to Henry Hull! 



John Beat, playing the title role of 
"The Little Minister," had an embar- 
rassing experience in the RKO lunch- 
room this week. 

It seems that the pants of the period 
were built for neither speed nor com- 
fort, and when John made the big mis- 
take of stooping over to pick up some- 
thing . . . the inevitable happened! 

Frantically, he whispered in Katharine 



Hepburn's ear. Deftly, our Katie stepped 
into position behind him and, holding 
out her voluminous gypsy skirts, the 
two of them did a neat "lock-step" out 
of the place, heading for John's dressing- 



Speaking of tennis, Charles Butter- 
worth is enjoying a right smart feud 
with Director Al Neuman, his next door 
neighbor. 

Al and Charlie have a pair of the 
best courts in the film colony and it's a 
daily battle to see which of them can 
inveigle the most high-powered players 
onto their respective courts. 

When Al has a match in progress, 
Charlie sends scouts over to snoop 
around and report on the assembly. 
And, when Dead-Pan Butterworth 
corners a few tennis celebrities, Al does 
likewise. 

It's all in fun, of course, as Al and 
Charlie get together for a set or two 
themselves, now and again. But, the last 
time we looked at the score board, 
Butterworth was leading by virtue of 
one Hymn of Victory, written especially 
for him, by Oscar Hammerstein! 

Ted Healy is a downright rebel when 
it comes to dressing according to the 
Marquis of Queensbury rules. Trousers, 
coat and vest (when he wears one) never 
match, and from all we can find out, it 
was ever thus! 

The other day, Ted was calling on 
Frank Fay, dressed as usual, like a 
wagon driver for the Salvation Army. 

Frank stood it as long as he could. 
Then, dragging Healy into his bedroom, 
he pulled a brand new, smartly cut suit 
from his wardrobe and said: "Listen, 
pal . . . I like you because you're a 
swell guy and I can't help it. But, so 
help me, if you don't shuffle out of that 
jig-saw puzzle you call a suit and put 
this on . . . well, it's the end of a beauti- 
ful friendship!" 

And Ted's been wearing the suit ever 
since, tickled to death with himself, too! 

Chin in hands, elbows on knees, 
Cora Sue Collins sat pensively con- 
templating the morning paper. 
Finally she heaved a deep sigh. 

"Mother," she announced de- 
cidedly, "I'm getting worried about 
Miss Garbo. The paper says she's 
just had her twenty-eighth birth- 
day and she isn't married yet. I'm 
afraid she's going to be an old maid 
if she doesn't hurry up!" 
• 

Ken Maynard's chauffeur has a 
cute little four-year-old daughter 
who thinks that Ken's ideas are 
just about as right as anyone's 
could be. 

Out of a clear sky, the youngster 
began refusing 1 ice cream, candy, 
milk, etc., and demanding raiv 
vegetables and fruit. After puz- 
zling their heads over this strange 
behavior for days, it finally de- 
veloped that the tot had overheard 
her idol express himself vehemently 
on the subject of "fat xoomen" . . . 
and the poor kid ivasn't taking any 
chances! 

• 

Wallace Beery's tiny daughter has 
been having more fun on the "Mighty 
Barnum" sets these days. 

Not realizing that they are adults, 
Carol Ann follows the midgets around, 
asking them to play dolls with her and 
drink milk, as she does! 



64 



The New Movie Magazine, January, 1931 



Hollywood endorses 

perfumes, cologne and 

scented cosmetics 



Perfu 



mes 



are 
mportant 

says 

KITTY 
CARLISLE 



EXQUISITE perfume with 
powder, lipstick and other 
cosmetics to match may be 
an extravagance, but in the opinion 
of lovely Kitty Carlisle it is a worth- 
while extravagance. If you cannot 
manage to have all your cosmetics 
in the same scent, you can at least 
select powder, lipstick, etc., to har- 
monize with your chosen perfumes, 
because there is nothing worse than 
conflicting scents. 

Kitty Carlisle, Paramount star, 
appearing with Bing Crosby in 
"Here Is My Heart," is very sensi- 
tive to the effect of perfumes. And 
while the charm of exquisite scents 
is something that cannot be directly 
registered by the motion picture 
camera, well-groomed women in 
Hollywood appreciate, more and 
more, the important effect of per- 
fume on both themselves and their 
associates. 

"I love to change my perfume 
often," says Kitty Carlisle. "I like 
to match my scent to my mood and 
there are perfumes to go with a 
gay mood, a little-girl mood and 
others appropriate to an exotic or 
seductive mood. Personally I like 
only two kinds — fresh floral odors 
and exotic, musky odors. The first 
are better for informal hours and 




Kitty Carlisle, starring in Para- 
mount's "Here Is My Heart." 



the heavier perfumes for evening. 
For tennis, golf or other sports, 
real perfumes seem to me rather 
out of place, though eau de cologne 
is permissible at any time. 

"In selecting the correct scent 
for the occasion," Kitty goes on to 
explain, "I believe every girl should 
consider her escort's taste. This is 
particularly true when one wishes 
to be alluring, for the gentleman 
one wishes to allure may be either 
very sophisticated or just the re- 
verse, and there are perfumes for 
either of these types. 

"Best of all I like to use scent on 
my furs and on my hair. Real per- 
fumes for the former and scented 
hair lotions for the latter. I like to 
put perfumes on my eyebrows and 
under the hem of my gowns. For 
evening it should be used on the 
elbows and under the shoulder 
straps. I do think every girl should 
adopt the atomizer habit. It pro- 
tects one's frocks and prevents 
overdoses of perfume. 

"I like always to be aware of the 
scent I am using but without mak- 
ing it too apparent to others." 



Handbag perfume flacons and set of three eau de cologne bottles popular 
in Hollywood. The cologne comes in scents to go with the perfume. 




The New Movie Magazine, January, 1935 



TAKE CARE . . 
COLDS-SUSCEPTIBLE! 

AN EMINENT physician states that of the 60,000 pre- 
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65 



Uflhthehouaaud 

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Hollywood Day by Day 



{Continued from page 64) 



1935 



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ADDRESS. 



Upon finding Tom Thumb smoking 
a big black cigar, Carol Ann eyed him 
disapprovingly. 

"You be sick," she warned. "You 
Daddy, he 'pank you, too!" 

Incidentally, there's a big chimpanzee 
on the set that just won't stay put. The 
funny looking animal is continually get- 
ting away and shinnying up flats, props, 
and things. 

And, strange as it may seem, Watty is 
the only one in the place who can get 
him to come down! 

Back from his world tour and 
perfectly satisfied with the outcome 
of the World Series, Will Rogers 
has rolled up his sleeves and dived 
into his new picture, "The County 
Chairman." 

"It was a great trip," he grins 
happily, "but it's nice to be back!" 

With the rainy season almost 
upon us, Adolphe Menjou is franti- 
cally trying' to get in enough golf to 
hold him through the Winter. Any 
time he can squeeze an hour off 
from the "Mighty Barnum" set, 
you'll find him out on his favorite 
golf course, swinging for dear life. 
• 

"While most actors are glad to be out 
of the studio at the finish of a picture, 
Lionel Barrymore may be found any 
day of the week, etching, reading, or 
playing the piano in his bungalow on 
the M-G-M lot. 

• 

Jackie Cooper returned from his per- 
sonal appearance tour with his right 
arm in a sling from signing autograph 
books! At every stop, the kids fairly 
mobbed their young hero, and Jackie, 
being that way, didn't stop until every 
book had been signed! 

Breaking a record of long stand- 
ing, Sam Goldwyn pleasantly sur- 
prised everyone by getting up and 
making a little speech at the studio 
preview of "We Live Again!" 

And now that he's broken down 
and let us in on a sample of his ora- 
torical ability, we'll bet the fellow, 
will have a hard time getting out of 
after-dinner speaking in the future ! 
• 

Jean Harlow's mother has gone 
to New York to buy some clothes 
for her busy young daughter. 

After finishing her new picture, 
xoith Clark Gable, Jean will join her 
mother in the East, and, with the 
brand new wardrobe, they ivill go 
abroad to show Parisian designers 
just how it's done in Hollywood! 
• 

Eddie Cantor's manager is one of the 
most economical (to put it mildly) 
people outside of Scotland. And it 
gives Eddie ample opportunity for plain 
and fancy ribbing. 

On the United Artists lot they were 
tearing down some old dressing-rooms, 
preparatory to putting up new and more 
elaborate ones. 

Passing the spot, Eddie nudged a 
friend. "Listen," he said, "d'you know 
why they're going to all this trouble?" 
Stooging prettily, the friend said "No, 
why are they going to all this trouble?" 

Pointing to his manager, Eddie 
cracked: "Well, he lost fifty cents last 
week, and he's kicked up such a fuss 
about it that they're trying to help him 
find it!" 



There's a last word for every- 
thing . . . even infants. Pat 
O'Brien's brand new baby had just 
about everything that one so young 
could possibly handle. But, after 
the gift possibilities had all been 
exhausted, here came Barbara Stan- 
wyck with a tiny white velvet chaise 
longue ivhereon the Infanta O'Brien 
might rest her weary bones of a 
long cold Christmas Eve! 



Contrary to all expectations, Maureen 
O'Sullivan returned from her visit to the 
Ould Counthr-rr-ry sans wedding ring, 
sans husband, but with the persistent 
Johnny Farrow, still hopeful, bringing 
up the rear. 

• 

Coming home from school, the other 
afternoon, Wallace Ford's young daugh- 
ter surprised the family by announcing 
that she was "in love"! 

"Well, who, for goodness sake, are 
you in love with?" Mrs. Ford wanted to 
know. 

Patty named the "man," a little play- 
mate. "And, d'you know," she con- 
fided, "I think he loves me, too! Be- 
cause I put my arms around him and 
he didn't move away!!" 



Even sail boats are "going 
Hollywood" this season. Little as 
we know about the rigging on any 
of 'em, still we do hear as how a 
certain type of sail has been named 
the "Garbo," on account of it 
lends footage to the boat! 

And because it balloons out in 
front, another jib-s'l rates the mon- 
icker "Mae West"! Such goings 
on! 

With Carole Lombard and William 
Powell both working on the same lot, 
you-uns might be right in looking for a 
lot of complications. 

But, Will-yum still finds time to lunch 
with the ex-little woman now and again. 
And, though it does sound like an old 
dish warmed over, Bill and Carole are 
really the "best of friends"! 



W'hen the boy friend, Paul Ames, 
comes home with a snappy new pair of 
socks, June Knight gets out her yarn 
and begins knitting a sweater to match. 

But, by the time June has purled her 
ivay through to the bitter end, Paul's 
socks are usually worn down to a pair of 
spats, and there's nothing for him to do 
but get more socks, or file the sweaters 
away for future reference! 



It gets 'em all, sooner or later. 

Stepin Fetchit attended a pre- 
view, the other night, wearing a 
pair of dark glasses that didn't fool 
anybody. 

Furthermore, he kept them on all 
during the performance. Which 
was maybe carrying the effect too 
far? Or else, knowing Stepin as 
we do, maybe he was just "too-o-oo 
tiahed" to take 'em off. 



And so, until next month, we'll 
wipe the dust we've kicked up off 
our chromium plating, get out of 
this suit before some producer 
signs us up and really puts us to 
work, hang our tie on the gas pipe 
and mingle with 'em once more on 
an equal footing. 

Be seein' you ! 



Winners 

to be announced 
this next month 

IELPFU 



TOWER MAGAZINES 

HONOR 

ROLL 



VV ATCH next month's maga- 
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66 



The New Movie Magazine, January, 1935 



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Hollywood Entertains 



{Continued from page 34) 



so they are especially interested in 
the charming couple. 

Elizabeth was discovered sol- 
emnly promising her husband to 
write him every day, but only on 
condition that he talk to her over 
the radio once a week. 

DOOR Johnny Mack Brown was 
*■ almost entirely cut out of Mae 
West's picture, "Belle of the Nine- 
ties." 

We met him at a party which 
Dorothy Tree gave. 

"I'm going," said Johnny, "to 
have those parts that were cut out 
put together again, and show them 
to a few of my friends, just to let 
them see how moral I really was 
in the story!" 

X/TR. AND MRS. JOE E. BROWN 
1 - 1 had made all preparations to 
hold a party in the moonlit patio, 
but the moon suddenly was dark- 
ened and the rain poured down. 

It does seem as though Joe never 
will be really out of the circus. 
And now there was nothing to do 
but lug out the big top and a 
couple of little tents and set them 
up in the patio. For Joe E. thinks 
it's luck to have a circus tent stored 
away in the basement, you know, 
and it surely was that time. 

A few guests had arrived when 
it commenced to rain, including 
John Barrymore and his wife. 
John got in and yo-heave-ho'd with 
Joe E., Edward G. Robinson, some 
other guests, and the help. 

It was a good party, too, with 
a lot of Hollywood's elect there. 

Romance wasn't at all dampened 
by the rain, especially in case of 
Jack Oakie and Mary Brian. Yes, 
that's on again. 

Then there were Virginia Peine 
and George Raft. And you can 
smile at the dear old a-little-child- 
joins-their-hands stuff all you like, 
but I happen to know that it is 
partly George's devotion to little 
Joan, Virginia's daughter, that 
keeps them together. Whenever 
they quarrel, little Joan just grins 
at both, and they make up again. 

A T the cocktail party which Nel- 
•^ son Eddy gave to celebrate the 
completion of his music studio, 
Irene Hervey arrived with Robert 
Taylor of Santa Monica, non-pro- 
fessional. 

Cocktail parties just go on and 
on. Nobody seems able to stop 
them, and Nelson's continued until 
two o'clock in the morning, with 
people dropping in ever> few mi- 
nutes. 

The musical crowd included 



Jeanette MacDonald, Walter Woolf, 
and Grace Moore. 

One whole wall of the studio is 
a mirror. That's a new wrinkle in 
Hollywood, and doesn't mean neces- 
sarily that the owner of the studio 
is vain. It is done simply in order 
that, while singing, the artist may 
watch his facial expression and 
carriage in the glass. 

TOEY RAY and Mrs. Lew Fields 
•J have the same natal day, and so 
what could be sweeter than that 
they should celebrate together! 

Which they did, the party being 
held at the Fields home. 

Joey Ray brought Marian Marsh, 
to whom he is very much devoted 
these days. 

Everybody had sent or brought 
flowers. 

Maurice Chevalier and Pat Pat- 
erson were both there, and Pat, 
now a motion-picture widow, be- 
cause her husband, Charles Boyer, 
had to leave Hollywood for France 
to make a picture, spent the time 
talking with Maurice about 
Charles, who is a great friend of 
the fascinating Chevalier. 

DINNER in Chinatown! That 
sounds intriguing, and is, es- 
pecially when Anna May Wong is 
the hostess. 

She gave what may be one of 
the last in the exotic environment, 
since old Chinatown in Los Angeles 
is being torn down to make way for 
a new railway station, and the af- 
fair had an added significance. 

The furniture of the restaurant 
is all strictly Chinese, and the 
favors were tiny packages of tea in 
which were folded up bits of paper 
telling the fortunes of the guests. 

TACK OAKIE is something of a 
»J hero worshipper of Ernst Lu- 
bitsch. But he never had been in- 
vited to the director's home. He 
went to Lubitsch one day, inquiring 
why Lubitsch never invited "any of 
the younger Hollywood element" 
to his parties. Lubitsch said, "Why, 
I'd just love to have you and your 
friends." 

Then he got busy and forgot all 
about the matter. 

Then Oakie kidded him about it, 
and Lubitsch set the evening. 

Jack gathered together his 
friends Mary Brian and Helen 
Mack, and, all dressed in kids' 
clothes and carrying with them 
various toys, proceeded to the 
Lubitsch mansion. 

One of the toys was an electric 
train, which Jack insisted Lubitsch 
should learn to run. 



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67 



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Grand Opera on the Screen 



(Continued from page 33) 



"After all, opera is about the only 
form of dramatic art which hasn't 
been successfully put on the screen ; 
you always liked pioneering, so why 
don't we tackle it?" 

"I will give you a few reasons 
why we don't, my good woman," I 
declaimed. "In the first place grand 
opera is the most 'distant' form of 
drama since the Greek tragedies ; 
even the actors' make-up today 
made me think of the Greek tragic 
mask. Like the Athenian drama, 
opera was made to be played a 
mile away from the audience and 
it has the same music, chorus, and 
slower-than-life tempo of Soph- 
ocles — " 

"Just the same," said Clara. 

"Just a minute," said I. "You 
know that the screen is just the 
opposite; the actor's face is en- 
larged until it is almost close 
enough to touch; the slightest 
change of mood, the flicker of an 
eyelash can be an important dra- 
matic gesture, while in opera facial 
expression must be violent to be 
seen at all; the actor must use his 
whole body in exaggeration." 

"And he usually has plenty of 
body," said Clara. "I see what you 
mean. Grand opera is the stage 
seen through a telescope while the 
screen is the stage seen through a 
microscope." 

"Exactly," I agreed. "So how 
on earth can you work out a com- 
bination of those two opposite poles 
of dramatic craft?" 

She pondered this. 

"Too bad that opera singers have 
to be chosen for their voices," she 
said. "They have to work too hard 
to diet and you have to be as strong 
as a horse to sing opera anyhow." 

"That's just the trouble," I put 
in. "A two-hundred-and-twenty- 
pound Parsifal may have a certain 
dignity when he's wearing the 
sweeping robes of the third act, 
but in the first act, as a stripling, 
with bare arms and legs and a 
little jerkin over his tummy I've 
always found him rather a melan- 
choly spectacle." 

"I know," she murmured sadly, 
"a hundred-and-ninety-pound Ned- 
da wanting to fly away with the 
birds of the air, or a two hundred 
pound Carmen shaking layers of fat 
in Spanish rhythms to fascinate a 
fairly spherical Don Jose doesn't 
seem to give quite the dramatic 
touch which the music calls for." 

"So you see, my dear," I con- 
cluded triumphantly, "that unless 
we can find enough really great 
singers of facial beauty, bodily at- 
tractiveness and fine acting ability 
— and I mean screen acting, not 
opera acting — we are, as you 
might say, stumped." 

V\7"E were passing the Hippo- 
* * drome just as its audience was 
coming out. They had seen the 
same two works as we had but had 
paid a smaller admission. They 
had the air of people who had en- 
joyed the evening. 

"There's the answer," said Clara, 
indicating the crowd. "With all its 
faults they love it still; and think 
of the millions of people in this 
country who are learning to love 
operatic music as brought to them 
by radio or phonograph, yet who 
never have had and probably never 
will have the chance to see a good 
performance of a whole opera!" 



"Yes," I added, "and plenty of 
those who have seen a whole opera 
haven't the balmiest idea of what 
it's all about. They see a tenor sing 
for fifteen minutes at a soprano 
and guess that he's telling her he 
loves her, or else telling her he 
doesn't; and in either case they 
don't understand the scene moment 
by moment, as it progresses." 

"That's why I'm so crazy to put 
opera on the screen," she exclaimed. 
"I'm tired of seeing it merely a 
luxury of the rich. We could open 
this art to millions who'd never 
know it otherwise; we could make 
it possible for children to be edu- 
cated to a real appreciation of it in 
school; it would work just the way 
classical music has on the radio. 

" JUST the same," I objected, 
** "merely photographing regular 
opera won't do the trick. The 
screen public is trained to expect 
beauty for the eye as well as some 
sense of reality in acting and scen- 
ery. Those who are used to what 
happens in the opera house take it 
as a tradition and put up with it; 
but if we're going to reach for a 
new audience we've got to do some- 
thing to prevent all dramatic values 
being entirely sacrificed to musical 
necessities." 

"Well, that's your business," said 
Clara gently. 

"Oh, it is, is it? Then just how 
do you suggest I go about it? The 
human face, when singing, is not 
a particularly beautiful object, even 
softened by the vast distances of 
the opera-house; magnified to the 
heroic proportions of the screen it 
becomes a convulsion of nature." 

"Be that as it may," she said, 
"we both know opera and we both 
know pictures, and if we can't find 
a way to mix 'em up, it's just too 
bad." 

"We can mix 'em up all right," 
I muttered as we reached our dwell- 
ing, "but the result may get us de- 
ported or impeached or something." 

That night I began to wonder. 

I wondered why, for some 
strange reason, the staging of 
grand opera, at least in America, 
seems to be the only one of the 
dramatic arts in which little or 
no progress has been made in the 
last sixty or seventy years; that 
once singers have learned their 
roles, it is considered unnecessary 
to have them rehearse together be- 
fore a performance. As it was done 
in Milan in 1875 so it will be done 
in New York in 1934; every move, 
every gesture, some so lost in the 
haze of antiquity that the director 
is unable to tell the actor their 
meaning; in fact some of the older 
operas are so embalmed in tradi- 
tion that they have about as much 
vitality as a canary preserved in 
alcohol. 

I remembered a performance 
of "The Drunkard" we had seen 
recently. 

This old play, presented in the 
same manner as it was in 1843, 
preserving all the theatrical tradi- 
tions of that period was received 
with whoops of joy by a 1934 audi- 
ence. The old-fashioned methods 
of stage-craft brought bursts of 
laughter, the artificiality of the 
acting shouts of glee. This vener- 
able old work, which was consid- 
ered good legitimate theater in the 
middle of the last century, bur- 




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The New Movie Magazine, January, 1935 




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Grand Opera on the Screen 



lesqued itself when judged by mod- 
ern taste in drama. Yet the pur- 
veyors of grand opera expect us 
to sit in reverent awe, see an 
equally antiquated work performed 
in early Victorian style, and ac- 
cept it as seriously as did our 
grandparents. 

Very few arts can live on an 
antiquarian value alone, and any 
art involving drama must reflect 
to some degree the point of view 
and dramatic customs of its cur- 
rent audience. 

I fell into troubled sleep. 

At lunch time, next day, Clara 
came bursting in with the news 
that she had taken her idea to the 
genial president of ERPI (Elec- 
trical Research Products Incor- 
porated — to you) and that he was 
most interested; that ERPI was 
just perfecting its wide-range 
process which would be a big step 
forward in musical recording and 
reproduction and that a modern 
method of showing grand opera on 
the screen would be the best pos- 
sible way of demonstrating their 
new improvements. 

"So you see," she wound up, 
"we're practically committed to it; 
the only thing I'm not sure of is 
just how to do it." 

"At least," said I, "if we knew 
how to do it it would have been 
done before." 

"Gods! What wisdom!" she said, 
looking very Egyptian. When she 
looks like that I never know 
whether she is admiring or kidding 
me, and up to now I have been far 
too wise to find out. 

It is unnecessary to go into the 
long conferences which followed. 
The idea was discussed from every 
point of view: technical, pictorial, 
educational and theatrical. It was 
decided that we make an experi- 
mental reel just to demonstrate 
what could be done in the new field 
and "Pagliacci" was chosen as sub- 
ject matter. 

CLARA and I secluded ourselves 
in a little house in California 
where we could look over the Pacific, 
dream dreams, and hear no ex- 
ternal sounds but the soothing mur- 
mur of the distant surf. We had 
the opera with us, in the form of 
phonograph records, and with these 
we worked, timing the movement of 
every scene to the music; plotting 
every cut in the film on the musical 
score. 

To make a new, singable transla- 
tion of the libretto we were fortu- 
nate enough to enlist the services 
of our friend John Erskine, who 
has been so successful as a novelist 
that the general public has forgot- 
ten his earlier reputation as a poet. 

As to the method involved we 
had decided to take the bull by the 
horns; to preserve the music in- 
violate but to abandon completely 
all the tradition of the opera-house. 

"It's this way," Clara said one 
day. "Even if singers can act, they 
can't really put over drama while 
they're singing." 

"Right," I agreed. "Singing is 
a full-time job and if a singer gets 
really emotional it goes to his 
throat and his singing goes to pot." 

"Then what are we going to do?" 

"Listen, child, and I will unfold 
the only way I think we can lick 
the problem." 

"Proceed, O sage." 

"Our problem has been to find 



a cast that can look and act like 
John Barrymore and at the same 
time sing like Caruso. This we have 
agreed cannot be done. But what 
if we had Caruso sing the role and 
then had Barrymore play it?" 

"Great," she said, "but what 
about the lips — what'll Jack be 
doing with his mouth while Enrico 
is singing a three-bar note." 

"His mouth will be in statu quo," 
I remarked. "That's the whole 
point. We won't pretend that Jack 
is singing; he'll be acting, express- 
ing bar by bar what the other is 
singing but won't make the faces a 
singer has to make. Of course the 
actor's gesture, even his lips must 
keep time with the music ; but he'll 
be free to act. We can come close 
to him and his face won't look like 
the Holland Tunnel surrounded by 
eyes and ears ; he'll have freedom 
of movement and, best of all, we 
won't have to look at him all the 
time; we can cut to the gal who's 
listening and make a beautiful 
close-up carry the singer's difficult 
moments." 

"And we can put real movement 
into it," Clara said. "We can give it 
all the flow of the silent picture." 

"Sure! And I'll bet that if we do 
our job properly the audience will 
get more illusion of reality and cer- 
tainly more beauty than they ever 
got in the opera house." 

U*OR several months we worked 
■*■ making a silent picture of Pagli- 
acci, which would fit the music, not 
only scene by scene, but bar by 
bar. There could be no guess-work 
here. The director had to visualize 
and time his scene before he ever 
went near the stage; for recording 
purposes he had to prepare a chart 
giving the sound engineers the ex- 
act distance of the actor from the 
camera at each moment so that the 
tone perspective of the voice would 
agree with the visual perspective 
of the scene. 

For the music had to be made 
first and, once made, could not be 
changed. 

Back in New York, the script 
completed, we set about recording 
the music of the experimental reel. 
We had chosen the final scene of 
the first act, the famous "Vesti la 
Giubba," to test our method in a 
long solo, and the opening scene of 
the second act as an example of 
ensemble work. 

Under the magic baton of Alex- 
ander Smallens the music came to 
life and was safely recorded on 
film and wax. 

It was with curious emotions 
that I faced my cast of four prin- 
cipals and a chorus of sixty and ex- 
plained to them what we were 
going to do. They were to enact 
silently the voices which they 
would hear as they acted. They 
were not singers but actors; the 
singers would forever remain un- 
seen by the audience, the actors 
remain unheard. We are welding 
the craft of the silent motion pic- 
tures to that of grand opera 
through the medium of recorded 
sound. 

Is the experiment a success? 

It is not for us to say. The little 
reel has gone to the public as an 
emissary of bigger things to come. 
At least it demonstrates one thing: 
if the public wants grand opera at 
movie prices in their home towns, 
the}' can have it. 



A TRUE 
STORY 



By A 

MOTHER 



\-** 




who tells of "a vital factor in 
continuous good health" for 
herself and her two children 



Following faithfully the advice of one's doc- 
tor or surgeon, as did Mrs. W. E. Waters, 
of 344 Lafayette Avenue, Lexington, Ken- 
tucky, is very sensible and wise. Read her 
letter below. 

"Twenty years ago, after a painful opera- 
tion for hemorrhoids, my surgeon warned 
me that my probably inherited tendency 
to faulty elimination would be apt again 
to cause me much misery unless I regularly 
took Nujol. Since then, Nujol has been as 
essential to me as drinking water. That is, 
Nujol is a vital factor in my continuous 
good health. 

"Following instructions on the Nujol 
folder, I cured myself of life-long (I was 
then 17) constipation. For years I have 
been able to go for days without taking 
any Nujol, but if I am forced to eat white 
bread (which binds me) or am under any 
sort of nervous strain, then I can rely on 
a few nightly teaspoons of Nujol to keep 
me in good condition. 

"Julia Ann, aged 13 and Billy, aged 11, 
have taken Nujol since babyhood. They 
both were bottle babies, raised on pasteur- 
ized milk which has a slight tendency to 
constipate. They love Nujol and fuss if I 
give it to one and not to the other. 

"The secret of keeping Nujol palatable 
and agreeable to take is keeping it cold. 
There is always a bottle of Nujol in our 
refrigerator. If either the children or I are 
away from home, we forestall change of 
water, habits or diet, by taking a small 
bottle of the precious fluid with us. 

"This I know from personal experience— 
if the directions with Nujol are followed 
exactly, anyone with patience and perse- 
verance can develop those regular habits 
which are the foundation of health and 
comfort. Why suffer or let your helpless 
babies or children suffer when there's 
Nujol?" 

Nujol, "regular as clockwork," now comes 
in two forms, plain Nujol and Cream of 
Nujol, the latter flavored and often pre- 
ferred by children. You can get it at any 
drug store. 

What is your Nujol story? If you have 
been using Nujol for ten years or more, if 
you are bringing up your children on it, 
tell us. Address Stanco Incorporated, Dept. 
19W, 2 Park Avenue, New York City. 



The Neiv Movie Magazine, January, 1935 



69 



Constipated 

Since Her 
%/tfarriaqe 





Finds Relief 
AtLasMnSaFe 

ALL-VEGETABLE METHOD 

IT dated from about the time she was mar- 
ried — her trouble with intestinal sluggish- 
ness, chronic tiredness, nervousness and head- 
aches. Nothing gave more than partial relief 
until she tried a product containing a balanced 
combination of natural plant and vegetable 
laxatives, Nature's Remedy (NR Tablets). The 
first dose showed her the difference. She felt so 
much better immediately — more like living. 

Your own common sense tells you an all- 
vegetable laxative is best. You've probably 
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Note how refreshed you feel. Note the natural 
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are so kind to your system — so quickly effec- 
tive in clearing up colds, biliousness, headaches. 
And they're non-habit forming. The handy 25 
tablet box only 25c at any drug store. 

EDCE 1935 Calendar-Thermometer, beautifully de- 
I Iftt signed in colors and gold. Also samples TUNIS 
and NR. Send stamp for postage and packing 
to A. H. LEWIS CO., Desk 136-AZ St. Louis. Mo. 





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NEWS ABOUT THE NEW FOR A NEW YEAR'S BEAUTY 



ONE FOR ALL . . . ALL FOR 
ONE : Here's a new cream so dif- 
ferent from any we've tried before, 
both in texture and effect, that we 
feel strangely helpless about de- 
scribing it. The cream, which is 
recommended as a basic all-around 
cream for the daily care of the 
complexion, contains an ingredient 
called "triactin" and fresh lemon 
juice. It's all whipped to the lus- 
cious consistency of real whipped 
cream and the result is a soft 
smooth cream, cool and stimu- 
lating. 

When the cream was first intro- 
duced, 537 lucky women were 
asked to act as "testers" and 511 
of them turned in enthusiastic re- 
ports (we suspect the remaining 
26 were speechless with delight). 
Women like it because it cleanses 
so completely, it smooths so per- 
fectly, and leaves the skin soft and 
dewy. One smart young thing con- 
fides that this cream so improved 
her complexion that not only do all 
the handsome young men in town 
ask for her phone number, but they 
use it, what's more. 




POURING OIL ON TROUBLED 
TRESSES: Oh, you poor 'uns 
with dry scalps . . . without sheen, 
without lustre, without everything 
that your crowning glory should be. 
There's a perfectly grand new 
soapless oil shampoo on the market 
that will put highlights into your 
strawlike tresses because it not 
only cleanses the hair and scalp 
but keeps the oil glands normal and 
active. The treatment is remark- 
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hair with tepid water, then pour 
on a liberal quantity of this magic 
formula, working it in with firm 
fingertips. You can literally feel 
the rich oil soak into your scalp. 
Rinse with warm water and your 
hair will be soft, fluffy, gleaming 
and well-nourished, and you'll make 
your little oil glands so-o-o happy! 



If you would like further in- 
formation about the articles de- 
scribed, and other beauty news, 
write enclosing stamped en- 
velope to the Beauty Editor, 
Make-up Box, Tower Mag- 
azines, 55 Fifth Avenue, New 
York, N. Y. 



DON'T BROOD! ACT! If 
you've been brooding over what 
to do with that Christmas check, 
there's a happy thought in a silver 
dresser set. When one of the 
largest manufacturers in existence 
offers sets of brush, comb, and 




mirror of shimmery silver in such 
exquisite designs and at such as- 
toundingly low prices, you just 
can't afford not to do something 
about it. The Silver Standard may 
not have had much economic influ- 
ence on feminine minds thus far, 
but if it brings such beautiful 
pieces of silver within the reach of 
Old Mr. Budget, we're all for it. 

LITTLE CURLS, WHAT NOW? 
Psychologists tell us that the 
first thing men notice is a girl's 
complexion and second, her hair. 
Men shudder at untidy wisps 
straying over your fur collar, or 
scrubby little loose ends. We want to 




announce the discovery of new hail 
curlers that are proving a boon to 
womanhood. They manage to 
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twenty minutes, produce the love- 
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THIS MONTH'S BEAUTY CIR- 
CULAR contains lots of exciting 
news. ... A Milk Pre-Facial which 
hails from jolly old England where 
girls' complexions are as fresh as 
their gardens . . . tricky new atom- 
izers. . . . An eye-bath so sooth- 
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radiance to the orbs of a tired 
night owl. 



NOW ijcu can. act 
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AmA-^-Jjttj 

CURLERS 



Scintillating screen' stars , 
have to be neat and im* 
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in hair dress as well a9 
the vogue in clothes. So 
naturally they use Holly* 
wood Rapid-Dry Curlers ' 
to get the full,' soft, Am/. 
ing curls that distinguish 
the truly smart coiffure. 




BACKACHES Need Warmth 

Thousands who suffered from backaches, pains and chest 
congestion, now put on an ALLCOCK'S POROUS 
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for muscle pains of rheumatism, neuritis, arthritis, 
sciatica, lumbago. 

ALLCOCK'S POROUS PLASTER gives a glow of 
warmth that makes you feel good right away. It draws the 
blood to the painful spot. Be sure druggist gives you ALL- 
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YOU CAN DO A REAL WIRING JOB 
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of outlets at trifling cost. Lays flat 
under rues and c irpcts; tricks on wnlla, bose- 
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Sold in 10c Stores and Electrical Shops 
The William Herst Company Chicago 



IAIZ 
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WANT BROADCAST? 



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If you have talent here's your chance 
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"I'm Having a Coming Out 

Party .... Jor the Hidden 

Beauty of My Hair" .... 

"I used to wash my hair with any old soap. Treated it like a step- 
child, as though it didn't belong to me. But not since that first 
shampoo with Marchand's NEW Castile Shampoo. That was a 
grand coming out party for my hair — for its real hidden beauty. 
Why is her hair lovelier, softer than ever before? Because now she 
uses the shampoo that RINSES COMPLETELY— Marchand's 
Castile Shampoo. Marchand's leaves the hair shining clean — 
glowing with natural color and lustre, easy to comb or rearrange 
into your wave. More shampoos per bottle. Cleanses all shades 
hair, will not lighten hair. Only 35c. Ask your druggist 
for MARCHAND'S CASTILE SHAMPOO. Or send to 
Marchand Co., 2.51 W. 19th St., N. Y. C. 



70 



The New Movie Magazine, January, 1935 




my thanks. I purchased the 
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Invented by a professional masseur it weighs less than a 
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STATEMENT OF THE OWNERSHIP, MAN- 
AGEMENT, CIRCULATION. ETC., RE- 
QUIRED BY THE ACT OF CONGRESS OF 

MARCH 3, 1933 
Of THE NEW MOVIE MAGAZINE, published 
Monthly at Chicago, Illinois, for October 1, 
1934. 

State of New York ) sg 
County of New York J 

Before me, a Notary in and for the State and 
county aforesaid, personally appeared J. E. 
Flynn, who, having been duly sworn according 
to law, deposes and says that he is the Busi- 
ness Manager of THE NEW MOVIE MAGA- 
ZINE and that the following is, to the best 
of his knowledge and belief, a true statement 
of the ownership, management (and if a daily 
paper, the circulation), etc., of the aforesaid 
publication for the date shown in the above 
caption, required by the Act of August 24, 
1912, embodied in section 411, Postal Laws 
and Regulations, printed on the reverse of this 
form, to wit: 

1. That the names and addresses of the pub- 
lisher, editor, managing editor, and business 
managers are: Publisher, Tower Magazines, 
Inc.. 55 Fifth Avenue, New York, N. Y. ; 
Managing Editor, Frank J. McNelis, 55 Fifth 
Avenue, New York, N. Y. ; Business Manager. 
J E. Flynn, 55 Fifth Avenue, New York, 
N. Y. 

2. That the owner is: (If owned by a 
corporation, its name and address must be 
stated and also immediately thereunder the 
names and addresses of stockholders owning or 
holding one per cent or more of total amount 
of stock. If not owned by a corporation, tne 
names and addresses of the individual owners 
must be given. If owned by a firm, company, 
or other unincorporated concern, its name and 
address, as well as those of each individual 
member, must be given.) Tower Magazines, 
Inc., 55 Fifth Avenue, New York, N. Y. ; 
Catherine McNelis, 55 Fifth Avenue, New 
York, N. Y. ; Marie L. Featherstone. 55 Fifth 
Avenue, New York, N. Y. 

3. That the known bondholders, mortgagees, 
and other security holders owning or holding 
1 per cent or more of total amount of bonds, 
mortgages, or other securities are: (If there 
are none, so state.) None. 

4. That the two paragraphs next above, 
giving the names of the owners, stockholders, 
and security holders, if any, contain not only 
the list of stockholders and security holders 
as they appear upon the books of the com- 
pany but also, in cases where the stockholder 
or security holder appears upon the books of 
the company as trustee or in any other fiduciary 
relation, the name of the person or corporation 
for whom such trustee is acting, is given; also 
that the said two paragraphs contain state- 
ments embracing affiant's full knowledge and 
belief as to the circumstances and conditions 
under which stockholders and security holders 
who do not appear upon the hooks of the com- 
pany as trustees, hold stock and securities in 
a capacity other than that of a bona fide owner; 
and this affiant has no reason to believe that 
any other person, association, or corporation 
has any interest direct or indirect in the said 
stock, bonds, or other securities than as so 
stated by him. „„_. 

,T. E. FLYNN, 
Business Manager. 
Sworn to and subscribed before me this 1st 
day of October, 1934. 

(SEAL) LAURETTA E. GANLY. 

(My commission expires March 30, 1935.) 



What to Expect 
in the New Films 

{Continued from page 38) 



invested it in a broken down liv- 
ery stable where he plans to ex- 
hibit his collection of freaks. Boy, 
is she mad!! 

"Give me that money!" she 
yells. "I could have gone home on 
that." 

Wally attempts to pat her 
shoulder. "Why, honey," he says, 
"you wouldn't go away and leave 
me. . . ." 

"Oh, wouldn't I?" Janet turns 
and advances on him menacingly. 
Wally backs up fast. An open 
trunk catches him, just behind 
the knees and he collapses into it, 
comically. 

After looking over the real Bar- 
num and Bailey circus, that came 
to Hollywood late this Summer, 
Bess Meredyth and Gene Fowler 
got together and turned out this 
story of good old Barnum, which 
is supposed to be more or less 
authentic. 

Adolphe Menjou does right 
smart with the role of "Bailey," 
Barnum's pal and eventual part- 
ner in freak collecting. 

Virginia Bruce plays "Jenny 
Lind," the sweet singer, for love 
of whom poor Wally is fit to be 
tied. 

It's a great expose of life under 
the Big Top, and Wally reiterates 
the colossal crack made by the 
mighty Barnum as he counted the 
day's receipts : 

"There's one born every min- 
ute!" 



nnH»vfFi\ Manhattan 

5™m5 is certainly tak " 

MA^HATTAA ing . it on the 

' chin these davs. 

"■"* But then, what 

did Manhattan ever do for me 
that I should care? 

Francis Lederer plays the part 
of a young immigrant, who, after 
saving exactly enough money to 
enter the United States, finds, 
upon arriving at Ellis Island, that 
the ante has been raised to four 
times as much as he is nursing in 
his continental high pockets. 

It's been a long trip, and, fig- 
uring that the ride back won't be 
any shorter, Lederer does a swan 
dive off the port side and moves 
in on Manhattan without benefit 
of registration. 

He falls in love with Ginger 
Rogers, a chorus girl who is be- 
tween jobs. Her kid brother, 
Jimmy Butler, is selling news- 
papers to keep the home fires 
burning, but, because they think 
that even sisterly chorines are no 
good influence on a growing boy, 
the juvenile authorities have just 
decreed that Jimmy must give up 
his paper route and hie himself 
to a boy's school. 

And, right here we walked on 
the set. 

For nearly three minutes, the 
stage was Jimmy's. 

By the time the scene was fin- 
ished, Jimmy's cheeks were wet 
with real tears, and we were 
bawling like an orphaned calf! 
But then . . . Ginger had to dash 
over to have her mascara touched 
up and Director Stephen Roberts 
was blowing his nose significantly, 
so ... I guess we're not the only 



REO 



cream-puff in the business. 

So you won't worry about it, 
we'd better tell you that Francis 
eventually established his right 
to bring home the bacon in 
America, marries the girl, and 
saves Jimmy from the Juvenile 
Home. 

Don Hartman furnished the 
idea and Norman Krasna made a 
story out of it. 

THE LITTLE , *?° is * SWe + U 

, n v ISTFIl studio and pret- 

1.MMH.K ty won derful in 

lots of w ays. 
BUT, when 
Katharine Hepburn sets her foot 
down and says: "I'll have no re- 
porters looking on while I'm work- 
ing!", even though she doesn't sav 
"Positively!" . . . well, Papa RKO 
just digs his toe in the dust and 
says: "Yes, ma'am!" 

So, in the absence of that "per- 
sonal" touch, we hope you won't 
mind contenting yourselves with 
a brief resume of James M. Bar- 
rie's classic story about the young 
parson who strove to make relig- 
ious order out of the chaos of a 
small Scottish town, nearly a hun- 
dred years ago. 

John Beal, who plays the par- 
son, is so good in his line that it 
isn't any time at all until every- 
body in town, including Alan 
Hale, the local sot, is trekking up 
the "straight and narrow" . . . 

To escape the boi'edom of 
wealth and the gloom of her 
papa's castle, Hepburn rigs herself 
out like a gypsy and flutters 
through the woods, listening to 
the birdies and bees-ies . . . 

Of course, Beal meets up with 
her, while communing with brooks 
and stones, and, in spite of the 
fact that he loves the apparently 
wanton lady, tries to reform her. 

Discovering the romantic inter- 
lude in the life of their idol, and 
not recognizing Heppy, the con- 
gregation loses faith and starts to 
backslide like everything. 

Hale falls off the wagon, and, 
blaming our Katie for the weak 
link in an otherwise strong chain, 
tries to kill the gal for shattering 
his religious illusions. 

There is an industrial strike 
and lots of excitement, but, by the 
time the last foot of fillum has 
run through the sprocket, the 
strike is broken, Hale climbs back 
on the wagon, and John takes his 
gypsy woman into his strong 
arms . . . for keeps. 

Director Richard Wallace has 
the enviable honor of putting 
Hepburn through her paces. 

BOHDERTOWA Q „ Th o e +l 1 ]*? S 
an a t m o s - 

warners p h e r e of 

tense expec- 
tancy about the set. Paul Muni 
took Bette Davis roughly by the 
arm and yanked her unceremo- 
niously into an office marked : 
"Private." Shutting the door, he 
walked menacingly toward her. 

"I told you to stay away from 
me!" he speaks angrily. "What 
do you mean by disturbing me 
when I'm talking to a lady?" 
(Please turn to page 72) 



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The New Movie Magazine, January, 1935 



71 



What to Expect in the New Films 



(Continued from page 71) 



"'Lady', huh?" Bette sneers. 
"Don't get ritzy, Johnny. I picked 
you out of the gutter and made 
you what you are!" She faces 
him defiantly. "I love you . . . 
and' I won't stay away from you! 
I killed my husband to get you, 
and I'll ... I" 

"You'll stay away from me, you 
little so-and-so ... or you'll meet 
the same fate as that husband of 
yours . . .!" 

Director Archie Mayo calls: 
"Cut!" Muni's face relaxes in a 
smile. Bette grins back at him. 
And that's that. 

Dissatisfied with life as a day 
laborer, Muni goes to night school 
and grabs himself a law diploma. 
Up against a smart lawyer, he 
loses his first case to the defense 
and his heart to the defendant, 
Margaret Lindsay. 

Across the . border, Muni pulls 
himself by his boot straps to a 
position of power and wealth as 
owner of a smart resort. 

To get him for herself, Bette 
Davis leaves her drunken hus- 
band. But, after the gruesome 
deed is done, Paul turns her down 
cold and continues to pursue Miss 
Lindsay. 

Repulsing his. honest advances, 
Margaret leaps from his car and 
is killed by a passing motorist. 

Seeing the folly of his greed 
for wealth and position, Paul re- 
turns to find happiness and- peace 
among his own people. 



JEALOUSY 



COLUMBIA 



Here's a "dif- 
ferent" story, 
all about what 
goes through a 
prizefighter's mind from the time 
he takes it on the button right up 
to the "nine" count. 

George Murphy, our leather- 
pushing hero, is almost late for 
his own knock-out because he's 
had a private fight with his girl 
friend, Nancy Carroll, because she 
won't duck working overtime with 
her handsome boss, Don Cook, in 
order to watch him fight. 

Right in the middle of the fisti- 
cuffs, Murphy looks over the 
ropes, and what do you think? 
There sit Nancy and Don . . . 
just as plain! For a minute, 
George sees red. Then he sees 
stars. Because while he's leering 
at Don, the other scrapper drags 
a haymaker up from his ankle, 
planting it where it'll do the most 
good. 

Waking up in his dressing- 
room, George knocks Don loose 
from his bridgework, marries the 
girl, and they almost live happily 
ever after. Nancy carries on 
with her job because their funds 
are practically non-existant. 

Finding his wife with Cook, 
after hours again, George shoots 
him and is sentenced to the chair. 
As a last request, he asks that, 
for old times sake, the chaplain 
count ten over him as the current 
is turned on. . . . 

■ — five — six — seven — eight — 
nine. . . . 

And Murphy finds himself back 
in the ring . . . saved by the bell 
at the count of nine! 

It's a novel idea, so don't blame 
the author, Argyle Campbell, too 
much if George gets up and knocks 
the champ cold in the next round. 



IT'S A GIFT 



W. C. Fields 
is up to his old 

paramount ^icks (and a lot 
of new ones!) in 
this swell tale, by J. P. McEvoy 
and Charles Bogle. 

The story is a simple one about 
the crazy adventures of a Ho- 
boken family on a cross-country 
trek to sunny Californ-i-ay, but, 
the dialogue is something that 
ought to keep you gurgling for 
a long time. That's if you're a 
Fields fan. We are. 

When W.C.'s Uncle Bean died, 
Fields is all for taking his in- 
heritance and moving out West 
"where men are men until they 
meet West!" 

His wife, Kathleen Howard, 
won't hear of such a notion. 

Jean Rouverol, their young 
daughter, sides with her mother 
because she doesn't want to break 
up a nice romance with Julian 
Madison. But, Tommy Bupp, 
youngest of the family (and a 
rascal if there ever was one!), 
thinks it's a great idea. 

Eventually, they set off, with 
young Tommy getting in every- 
one's way, the missus driving 
from the back seat, and Jean 
weeping silently all the way 
across the country. 

On the set, Fields had every- 
body, including Director Norman 
McLeod, in hysterics over his 
crazy ad libbing! 



MAX WHO 

RECLAIMED 

HIS HEAD 

• 
UNIVERSAL, 



Claude Rains 
fills in the white 
outline he made 
in "The Invisible 
Man" and gives 
the public a gen- 
erous sample of what he 
can do "in the flesh." 

Stooging for Lionel At- 
will, a famous publisher, 
Rains writes pacifist 
articles while Atwill col- 
lects the glory. 

Then comes the War, 
and while Atwill craw- 
fishes on his" pacifist stand- 
ard, Rains shoulders a 
blunderbuss and courts 
cooties and pneumonia in 
the Allied trenches. 

Safe at home, Lionel 
keeps the kettle boiling by 
making up to Claude's 
wife, Joan Bennett, trad- 
ing on her passion for 
pretty clothes and rich sur- 
roundings until she takes 
her little daughter and 
moves in with the bounder. 

Bitter and disillusioned, 
Rains returns from the 
war, calls on his betrayer 
and, while wifey looks on, 
draws his bayonet and fol- 
lows through slicing just 
a notch above Mister At- 
will's Adam's apple! 

Taking the head, he puts 
it into a valise and goes to 
call on the family lawyer. 
Imagine his surprise when 
the family lawyer slaps him on the 
back and wonders why somebody 
hadn't thought of it before? 

It seems that Atwill has been in 
the dog house for a long time, with 
the entire French republic just 
waiting for someone to up-and-at 
him! 

Joan walks in with Baby Jane, 



asking timidly to be forgiven; and, 
with the prospect of exoneration 
in the offing, Claude takes her in 
his arms and all is well. 



CONCEALMENT 



WARNERS 



by 



E d w a r d 
Ludwig di- 
rects this 
slightly hair- 
Jean Bart and 



raising play 
Sam Ornitz. 

Leonard Ide's play about political 
entanglements took on all the as- 
pects of a first class mystery when 
we came to this part of the plot: 

"Barbara Stanwyck has secretly 
married Warren William, Attorney 
General, when an investigator in 
William's office informs his boss 
that the secretary of a big finan- 
cier, who had been convicted of em- 
bezzlement and pardoned by the 
governor (Barbara's father), had 
deposited $10,000 to the Gov- 
ernor's account." 

It seems that this looks pretty 
bad for the Governor, especially 
when Warren goes through the 
dead man's private papers and 
finds a note, presumably from our 
worthy statesman, soliciting a 
bribe. 

Before you can get your head 
out of water on the first batch of 
dirty work, the investigator is 
mysteriously murdered and, to 
keep his girl friend, Glenda Far- 
rell, from taking the rap for it, 
Stanwyck goes on the stand, ad- 
mits that she's married to Warren 
and tells enough to clear the girl. 

After a lot of complications, the 
guilty party is finally brought to 
justice and Barbara and Warren set- 
tle down to live happily ever after. 

And we'll just bet Director Wil- 



leading (fugitive) lady in this Co- 
lumbia story by Albert De Mond. 

Caught (innocently enough, too) 
in a stolen car, Florence is packed 
off to San Quentin in charge of a 
police matron. When the train, on 
which they are riding, is wrecked, 
the policewoman is killed, and 
Florence, with another woman's 
letter in her hand, is packed off to 
the parents of a man to whom the 
letter says she is married. 

Neil Hamilton comes home, ex- 
pecting to have it out with the 
wily adventuress who has trapped 
him into matrimony, and when he 
sees Florence . . . well, it's a pleas- 
ant surprise all around. 

The kids fall in love and, not 
wanting to disillusion the old folks, 
plan to slip away and be secretly 
married. But, the crooked brother 
of the dead adventuress shows up 
just in time to complicate matters, 
that is, until Director William 
Nigh calls in the police force and 
shows the scoundrel up. 



THE 

PRESIDENT 

VANISHES 




From Hop Lee's Gab Bag 

Anyway you look at it — those millionaire 
film producers can thank their lucky stars! 



liam Dieterle enjoyed a good night's 
sleep after untangling this one! 



After her bad luck 
in being hospitalled 
out of the cast of 
"The Captain Hates 
The Sea," Florence 
Rice finally comes into her own as 



FUGITIVE 

LADY 

• 
COLUMBIA 



Walter 
Wanger pre- 
sents this as 
the first of 

W ALTER W ANGER his produc- 

productions tions. The 
idea is a dar- 
ing pioneer venture. 

Arthur Byron, as President of 
the United States, is beloved of his 
people because he has brought pros- 
perity to them and kept them 
sanely out of war. 

By propaganda and subsidized 
press, a group of war profiteers 
flood the nation with such slogans 
as "Collect the War Debts by 
Force," "Save America's Honor," 
etc., until the gullible peo- 
ple turn against their peace 
President and demand war ! 
Suddenly . . . just two 
hours before he is sched- 
uled to address Congress 
. . . word is flashed around 
the world that the Presi- 
dent of the United States 
has been kidnaped ! 

Startled out of their 
frenzy, the people turn 
their cries of "We Want 
War!" to a howl of "We 
Want Our President!" 

Rioting breaks out. The 
profiteers frenziedly try to 
thwart the people by de- 
claring the President "of- 
ficially dead" so they can 
place the Vice President 
(who is their tool) in the 
White House. 

While Edward Arnold, 
the Secretary of War, 
works day and night in- 
vestigating the abduction, 
Paul Kelly, young secret 
service agent, follows a 
long-shot hunch and catches 
up with our President in 
the hide-out of a pro-war 
fanatic, who is just about 
to murder him, as Paul ap- 
pears and shoots first. 
With the return of their leader, 
the people about face and rally 
round their Chief as, over the 
radio, he pleads for preparedness 
for war, only if America is at- 
tacked. 

The story, while problematical, 
is quite pertinent and ought to give 
us something to think about. 



72 



The New Movie Magazine, January, 1935 




OVENSERVE dishes are the gay, attractive Table 
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There are meat platters, for instance, on which you 
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table. The shirred egg dishes are another suggestion. 
Look at the cute one-handled French casseroles too, the 
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Every single OvenServe dish stands full oven heat, even 
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They dress up a table. Yet you can safely bake in 
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Save on the dishwashing, too, because no pots and pans 
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Nice for the refrigerator, also. They don't mind cold 
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Cost a lot? No, indeed. They're economical gifts, the 
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OVENSERVE 

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MRS. BOYER'S BERCDORF COODMAN GOWN IS OF UNCUT VELVET. 



Among the 

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MISS MARY BYRD, Richmond 

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MRS. THOMAS M. CARNEGIE, JR., New York 

MRS. J. GARDNER COOLIDGE, II, Boston. 

MRS. BYRD WARWICK DAVENPORT, New York 

MRS. HENRY FIELD, Chicago 

MISS ANNE GOULD, New York 

MRS. JAMES RUSSELL LOWELL, New York 

MRS. POTTER D'ORSAY PALMER, Chicago 

MISS MIMI RICHARDSON, New York 

MISS EVELYN WATTS, New York 



OWJJ 



Another Camel enthusiast 
is Mrs, Allston Boyer 



(pre* 



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TVRKJSU& DOMESTIC 
BtMNO 

fc. CIGARETTES ^ 



9 

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2 
0' 

kl 




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In the gay young group that dictates 
what's "done" in New York, Mrs. Boyer 
plays a charming part. What to wear, 
where to dance, what to see, how to en- 
tertain, what people prefer to eat, to 
smoke — she knows all the answers. That 
is why you find Camels in her house 
and in her slim cigarette case. 

"There seems to be more going on 
this winter than ever," she says."Lunches, 
teas, parties, dances — everyone is gay 



and almost everyone is smoking Camels. 
They certainly add to your enjoyment 
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Lots of people have told me the same 
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People find that Camel's finer and 
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Copyright, 1034. K. J. Reynolds Tobacco Company 






<ZCC€rf 



GEORGE JEAN NATHAN'S MOVIE FAVORITES 



FEBRUARY 1935 



l'yg in Cana 




NORMA SHEARER 



RALPH BELLAMY 

TELLS ON 
FREDRIC MARCH 



WHY I'D HATE TO BE A MOVIE STAR 









k ""iM«uuMf*2 



But you can buy 
and be 

Like a Parisienne you can set hearts on fire if you use the 
lure French women never neglect. ..an exciting, seductive 
perfume. Such is IRRESISTIBLE PERFUME. This, mysteriously 
exotic fragrance stirs senses... thrills... awakens love. It 
makes you divinely exciting, glamorous, utterly irresistible. 

Try all the Irresistible Beauty Aids... each has some spe- 
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Four gorgeous shades to choose from. Irresistible Face 
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small blemishes and gives you a skin that invites caresses. 

Irresistible Beauty Aids are guaranteed to be pure and 
of the finest quality. Be irresistible tonight... buy IRRESISTIBLE 
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Powder, Vanishing, Lique : ng, Cold Cream, Cologne, 
Brilliantine, Talcum Powder. ?ze packages only 10^ 

each at your 5 and 10f ; 'ore. 



a 



si(D(BasaK(ar— 



SAYS EDITOR OF VOGUE 



dio&^s 



IPILESflDB®?" — SAYS YOUR OWN DENTIST 




IT ISN'T BEING DONE, BUT IT'S OwT\A)avL TO PREVENT "PINK TOOTH BRUSH 




I PANA 

TOOTH PASTE 



">"T"<HE most shocking picture I ever saw," says Edna 
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But there's nothing shocking about it to dentists. 

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Dental science explains that since soft, creamy foods 
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DON'T NEGLECT "PINK TOOTH BRUSH" 

"Pink tooth brush" is well known to your dentist. He 
knows that serious troubles, such as gingivitis, pyorrhea 
and Vincent's disease may follow. And he knows that 
massage is needed to stimulate and firm your gums. 

If you are wise, you will begin at once to massage 
your gums every time you brush your teeth. Each time, 



rub a little extra Ipana on the gums. For Ipana with 
massage helps restore gums to healthy firmness. 

Start cleaning your teeth and massaging your gums 
with Ipana — today. Your teeth will be brighter, your 
gums firmer. And you can forget "pink tooth brush." 

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CODE 


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Enclosed is a 3p stamp to cover partly the cost of packing 
and mailing. 


Name 












Street 


City 






State 







The New Movie Magazine, February, 1935 



4 vi&5 



©C1B 247998 



new movie 



VOL. XI No. 2 • • • FEBRUARY 1935 

CATHERINE McNELIS, Publisher 

Frank J. McNelis, Managing Editor«Bert Adler, Eastern 
Editor • Mary Marshall, Director of Home Service; 
John C. Mitchell, Western Editor* Hugh Ryan, Art 
Director* Verne Noll, Associate Art Director. 



A GLIMPSE AT THE EDITOR'S NOTEBOOK 



SOME of you probably wonder, from time to time, why pictures of certain stars appear 
on movie magazine covers more often than others. And some of you, too, may 
wonder why your own favorite star does not appear. There are many reasons: 
Sometimes a new personage sweeps the country by storm, capturing the hearts and minds 
of the vast movie-going public, as in the case of Anna Sten; sometimes, it is an old favorite, 
who again zooms into prominence; but often it is the dear-to-the-heart-of-the-public type 
of star, whose performances, year after year, give her deeper hold on your affections. 

Such is the case, this month, in the selection of Norma Shearer, for the place of honor 
on NEW MOVIE'S cover. Norma, besides being an outstanding actress, of great talent 
and charm, is also one of Hollywood's most delightful persons. She is a good wife and an 
excellent mother, and in addition to her never-ending home-work, she brings you a new 
picture every several months. And now, our Nemo reports, Norma is again to play the 
greatest role a woman can play. About the time you read this, or shortly afterward, 
Norma will present her husband, Irving Thalberg, with another child. She hopes that it 
will be a girl, so that little Irving Jr., will have a little sister for a companion. 

• • • 

In every issue of NEW MOVIE, you find stories which the editor refers 
to as "personality stories." These are planned to give you an intimate picture of some star 
whom you would like to know better. Such a story is the one Elsie Janis is preparing for 
you on Walter Connolly, who, from a small beginning in a Columbia picture just a year 
and a half ago, has steadily and surely won for himself a vast following. They say, in 
Hollywood, that if every studio wants to borrow you, you are a success. In Mr. Connolly's 
case, this is indeed true. For in the last several months, in addition to picture work at 
his own studio, he has been busily engaged in giving sterling performances for Fox, 
Paramount, and other major producers. Elsie Janis, who knew him during his early stage 
successes in New York, has done another vivacious article that we are sure you will like. 

• • • 

When it was rumored that Edward J. Flynn, astute New York politician, was to 
succeed Will Hays as head of the Motion Picture Producers and Distributors, the leading 
executives of the movies, quite unknown to Mr. Hays, issued a round robin denial of the 
report. The general belief is that Mr. Hays has made such a good job of his current 
clean-up of the movies that he has become too valuable to displace. There is no question 
but that the church organizations which initiated the clean-up are, in the main, satisfied 
with Mr. Hays' conduct of it. But is his censorship going too far, and entering the field 
of politics as well as that of sex vulgarity? The report comes from Hollywood that Walter 
Wanger's production, "The President Vanishes," has been having hard sledding at the hands 
of Hays censors because it is a political caricature. Certainly the industry and Mr. Hays 
would do well to shun political censorship of the movies, and as a friend of the industry 
and Motion Picture Producers and Distributors, NEW MOVIE hopes that the changes, if 
any, ordered in "The President Vanishes" will be in its moral rather than political tone. 

• • • 

It is the custom in certain smart Manhattan and Hollywood circles to laugh at the 
so-called "British invasion" of the American movie business. The scoffers point out that 
London Films have so far delivered but two winners, "Catherine the Great," and "Henry 
the Eighth," while another great English producer, Gaumont British, has only come through 
with "Power" and "Chu Chin Chow." No other English producer has yet rung the bell 
on this side, although Herbert Wilcox's "Nell Gwyn" is rated as having possibilities of 
becoming an American box-office hit. True, all this does not make the "invasion" anything 
for American producers to worry over, but on the other hand five important attractions 
in one year might well become ten important pictures in two years, fifteen in three years, 
and so on. It is not beyond possibility that the English producers may yet be making 
twenty to twenty-five per cent of the pictures that American fans pay their money to see. 
Big conquests grow from little "invasions" and the scoffers better not bet. 



THE BEST OF THE MONTH'S STORIES 
OF THE STARS 

Revamping the Stars Kathryn White 4 

George Jean Nathan's Movie Favorites 

— Douglas Gilbert 16 

That Gay Girl Ginger Elsie Janis 20 

Ralph Bellamy Tells on Fredric March 22 

The Most Uninteresting Man in Hollywood 

—Whitney Williams 24 

Color Magic on the Screen. .Gerald Breitigam 25 

Ramon Romero's New Movie Forecast for 1935 26 

Sitting on Top of the World — Maude Cheatham 40 

Why I'd Hate to Be a Movie Star 

— Jack Jamison 44 

NEWS OF THE FORTHCOMING FILMS 

On the Set with the Coming Pictures 

— Barbara Barry 6 

NEW MOVIE'S SPECIAL DEPARTMENTS 

Hitch Yourself to a Star 30 

Hollywood Day by Day Nemo 35 

Hollywood Entertains Grace Kingsley 36 

Royal Squabbles of the Movie Queens 

— Herb Howe 38 

You Tell Us 42 

Junior Hollywood Henry Willson 46 

Wynne Gibson Discovers New Salads for Lunch 48 

Things to Make from Oilcloth 50 

Diet Problems of the Stars.... Dr. Henry Katz 51 

The Make-Up Box g 

Music in the Movies John Edgar Weir 74 



COVER DESIGN BY GENE REX 



Published Monthly by TOWER MAGAZINES, Inc., 4600 Diversey 
Avenue, Chicago, III. Executive and Editorial Offices: 55 Fifth Avenue 

New York, N. Y Home Office: 22 No. Franklin St., Wilkes-Barre 

Pa. Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Cal 
Officers: Catherine McNelis, President; John P. McNelis, Vice-presi- 
dent; Theodore Alexander, Treasurer; Marie L Featherston'e, Secretary 
R. H. Flaherty, Advertising Director; E. L. Schroeder, Eastern Ad. c , 
tising Manager; S. B. Galey, Western Advertising Manager; R. M 
Budd, Pacific Coast Representative. 

Advertising Offices: 55 Fifth Avenue, New York, N. Y. ; 919 No 
Michigan Ave., Chicago, III.; Russ Building, San Francisco, Cal. 

Copyright, 1935 (Title Reg. U. S. Pat. Off.) by Tower Magazines, Inc., 
in the United States and Canada. Subscription price in the U S A ' 
$1.00 a year. 10c a copy; in Canada, $1.60 a year, including duty, 15c 
a copy; in foreign countries, $2.00 a year, 20c a copy. Entered as 
second class matter September 9, 1933, at the Post Office at Chicago, 
III., under the Act of March 3, 1879. Printed in U. S. A. Nothing 
that appears in THE NEW MOVIE MAGAZINE may be reprinted, 
either wholly or in part, without permission. Tower Magazines, Inc., 
assumes no responsibility for return of unsolicited manuscripts, and they 
will not be returned unless accompanied by stamped, self-addressed 
envelopes. Owners submitting unsolicited manuscripts assume all 
risk of their loss or damage. 



OTHER TOWER MAGAZINES - MYSTERY • TOWER RADIO • SERENADE • HOME • TINY TOWER 

NEW ISSUE ON SALE THE FIRST OF EVERY MONTH 



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G//VGFR ROG& 

STAR OF RKO-RADIO'S "ROMANCE IN MANHATTAN" 



THRILLING words... 

BUT NOBODY SAYS THEM 
TO THE GIRL WHO 
HAS COSMETIC SKIN 

SOFT, lovely skin is thrilling to a man. Every 
girl should have it — and keep it. 
So what a shame when a girl lets unattractive 
Cosmetic Skin rob her of this charm! It's easy to 
guard against this modern complexion trouble. 

Cosmetics Harmless if removed this way 

Cosmetics need not harm even delicate skin unless 
they are allowed to choke the pores. Many a 
woman who thinks she removes make-up thor- 
oughly is actually leaving bits of stale rouge and 
powder in the pores. Gradually the pores become 
enlarged — tiny blemishes appear, blackheads, per- 
haps. These are warning signals of Cosmetic Skin. 

Lux Toilet Soap is made to remove cosmetics 
thoroughly. Its ACTIVE lather sinks deeply into 
the pores, gently removes every vestige of dust, dirt, 
stale cosmetics. Before you apply fresh make-up 
during the day — ALWAYS before you go to bed at 
night, protect your skin with this safe, sure care 9 
out of 10 screen stars use! 



To guard against un- 
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thousands of girls all 
over the country are 
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The ACTIVE lather of 
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CODE 



The Neiv Movie Magazine, February, 1935 



RE-VAMPING THE STARS 



No matter how beautiful they are 
originally there isn't a girl in the 
world that the studios can't im- 
prove upon and make more 
beautiful and glamorous than 
you'd ever believe 

By KATHRYN WHITE 

WHEN it comes to beautiful gals, the 
movies are just like men . . . 
First they see her, and want her. 
So they begin to make love to her. 

They tell her she's beautiful and wonderful 
and magnificent and just the kind of gal they've 
always been looking for. They tell her her 
hair is like spun gold and her teeth are like 
pearls and her eyes are like stars. They tell 
her the way she walks is grand and the way 
she talks is gorgeous, and, in short, that 
everything about her is just simply perfect! 

And they keep on with that line, and with 
all sorts of pretty-worded propositions until the 
poor gal just gives in and says yes. 

And so they sign her up for life, or some- 
thing. With men, it's marriage; with the 
movies, it's a contract on the dotted line. And 
anyway, whichever it is, they've got her. 

And so what? 

Why, then they go to work on the poor 
honey, and they tell her that everything about 
her is all wrong. They tell her her hair is 
blah and her teeth are haywire and her eyes are 
lopsided. They tell her she walks like a sway- 
backed horse, and talks like a cow. In short, 
that everything about her is wrong, all wrong. 
And so, they proceed to remake her — to make 
her all over. Or try to, anyway. 

And if you don't believe it, ask any beautiful 
gal who has said "Yes" to the movies. Ask 
Margaret Sullavan. Or Josephine Hutchinson. 
They know. So does Garbo, because they did 
it to her. And Shearer. And all of them. Ask 
them. Ask Ketti Gallian, that luscious little 
French dame Winnie Sheehan signed for Fox, 
over in Paris, and whom they've been making 
over for almost a year, and who's so darned 
mad about it that she says her mother won't 
ever forgive them for what they're doing to 
her. 

When Fox signed Ketti, it was after telling 
her how utterly perfect she was, and how long 
they'd been looking for somebody just like her. 
Those eyes, uh! That honey hair, ah! Those 
curves — ooh la la; Them teeth — bay-bee! 
And Ketti signed on the dotted line and came 
to Hollywood and WHAM! 

First thing they sailed into was the hair. 
That honey color that got Sheehan all dithery 
just wouldn't photograph honey color, so they 
lightened it a half-dozen shades and changed 
THAT. The wardrobe department looked at 
the curves that had thrilled Sheehan, and said 
they were lovely, BUT! And Ketti had to go 
on a diet, and eat spinach and spinach and 
spinach and a lot of fancy things with glandu- 
lar something or other that raised the dickens 
with the curves and changed THAT. And 
they sicked a masseuse on her who slapped and 
pounded her once or twice a day on the you- 
know and changed THAT, too. 

And the way she talked — oh my, oh my! 
It sounded swell in Paris but lousy in a micro- 




Above is Norma 
Shearer in pre-studio 
days; right, the Nor- 
ma you see today. 





Look at Garbo as she 
arrived from Sweden, 
compared with the 
Garbo styled by stu- 
dio experts. 



Dietrich offers a less 
startling contrast. 
Beauty was visible, 
just under the surface. 



But Joan Crawford 
was another matter. 
Can you recognize 
her in the old photo? 



The process of re-styl- 
ing still goes on. 
Josephine Hutchin- 
son, before and after. 




phone, they told her. And so for hours a day 
she was tutored in proper American pronuncia- 
tion to combat her cute French accent and that 
changed THAT. Then they went to work on 
her face and even changed THAT I They 
shifted her eyebrows from where Dame Nature 
had put them, to somewhere 'way up near the 
hairline, and they looked at her lovely round 
cheeks and decided that she ought to have a 
caved-in look like Dietrich's face, so they 
yanked a flock of wisdom teeth and molars 
and changed THAT. 

And finally, after weeks had run into months 
and months had added up to almost a year, 
Ketti Gallian, who didn't look, act, sound like 
the Ketti Gallian Fox had originally signed, 
blew up on the set one day and yelled: 

"I am sick of this. I can't stand any more 
of this! They signed me because they thought 
I was pretty — and now look what they've done 
to me! I don't like the way I look — and my 
mother will never forgive them for spoiling 
me!" 

But it's not really that Ketti isn't as beauti- 
ful as her mother thinks; it's just the darn 
business of lights, the shadows they cast, AND 
the camera that causes all the trouble. 

She IS beautiful . . . just as beautiful a? 
Mr. Sheehan, her mother and all the Parisians 
who saw her on the stage thought her. But 
that doesn't mean a thing when the camera 
goes to work. The gals shouldn't be so bitter, 
and the public should not assume that they are 
not gorgeously lovely creatures simply because 
a few things have to be done to 'em to satisfy 
that old demon . . . camera. 

You'll see Ketti in Fox's "Marie Galante." 
But the Ketti Gallian you'll see in "Marie Gal- 
ante" will NOT be the Ketti Gallian Mr. 
Sheehan saw and signed in Paris. 

KETTI 'S not the only one. Ah, no. Con- 
sider Margaret Sullavan — 

Margaret says she never was sold on her- 
self as a beauty, until the movies told her she 
was one. This time, it was Universal Studios, 
and in New York they sang the same tune into 
Margaret's ears — "you're wonderful, you're 
perfect, you're just the type we've been look- 
ing for," and all that sort of thing. 

"So I took a look at my face in the mirror," 
said Margaret, "and I said to myself: 'Well, 
Sullavan, maybe there's something there that 
you've missed. Maybe you've got that 
ephemeral thing or what-do-you-call-it that is 
Beauty.' 

"And so I fell for the song and dance, and I 
signed with Universal. And wait till I tell you 
what they did to me . . . 

"The first day I was in Hollywood, they 
looked me over — the make-up boys and the 
cameramen and the executives and the directors 
and the yes-boys and the no-boys. And what- 
ever it was that was so beautiful when they 
wanted to hire me, they now wanted to change. 

"They began with a mole on my left cheek. 
In New York, they'd told me that that was 
the clincher — that that was the mark of beauty. 
So they took it off! That was the first sacrifice. 

" 'You have to have new teeth,' they said, 
next. 'Yours need repairing and straightening 
anyway, and so we might as well take out that 
whole upper row, there, and give you a nice 
new plate.' " 

But Margaret would have none of that. She 
stood her ground, and so they compromised on 
a shield — one of those fake fronts that fits over 
one's real teeth and (Please turn to page 67) 



The New Movie Magazine, February, 1935 



A WASHDAY THRILL TO GLADDEN ANY HEART 



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The Neiv Movie Magazine, February, 1935 













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DAVID COPPERFIELD 
(M-G-M) 

A careful, beautifully 
done version of the 
Dickens novel. See 
page 18, and if you 
can still resist going 
to see it, something's 
certainly wrong. 



FORSAKING ALL OTHZRS 

(M-G-M) 
Joan Crawford, 
Clark Gable, Robert 
Montgomery, Billie 
Burke, Charles But- 
terworth, Ted Healy. 
Sophisticated 
comedy, bound to 
please you. 



FATHER BROWN, 

DETECTIVE 

(Paramount) 

Paul Lukas, interna- 
tional crook, steals 
diamonds for Ger- 
trude Michael but is 
cleverly outwitted by 
Walter Connolly, as 
Father Brown, a 
Catholic priest. 



MILLS OF THE GODS 
(Columbia) 
May Robson is grand- 
mother to a prosper- 
ous plow company 
and a batch of 
youngsters who bleed 
her for her money. 
With Victor Jory and 
Fay Wray. 



ENCHANTED APRIL 

(RKO) 
Ann Harding and 
Frank Morgan, mar- 
ried, have a falling 
out, but April in Italy 
brings romance back 
again. Romance and 
some comedy, too. 



ON THE SET 

with the 

COMING 
PICTURES 

Picking that picture for to-night is always a 

bit of a problem. Let BARBARA BARRY, 

our studio scout, help you with it 



MAYBE we're wrong, but the story of the dashing young prince who 
falls in love with a charming commoner and is obliged sadly to 
relinquish a great love in favor of duty to his country, sounds very, 
oh, very familiar. 

From the sidelines, we watched Ramon Novarro dish out his own particular 
brand of Amorous Advance to the properly reluctant, though charming, com- 
moner, Miss Evelyn Laye. 

It seems that, to cover up his romance with a gold-digging 
Countess, Ramon has hired Evelyn, a ballet dancer, to pose 
as his real amour. And, to keep her job in the Royal Opera 
House, Miss Laye agrees to accept the job of inamorata in 
name only. 

Out of camera range, Vicki Baum, the author, watched 
the scene with critical intensity. No one was going to take her brain child and 
part its hair the wrong way! However, at the finish of the shot, her face 
relaxed and, with a swift smile for Director Dudley Murphy, she signified her 
complete approval. 

Back in a dark corner, swathed from chin to heels in a swanky military cape, 
Edward Everett Horton dozed comically in his canvas chair. Lower and lower 
his head would droop and just about the time it looked as though the poor 
man must pitch over on the floor, he'd snap into an erect position and start 
all over! 

The sets are really gorgeous. And, the cast . . . well, just give a look! 
Novarro, Laye, Horton, Charles Butterworth, Una Merkel, Donald Cook, 
Cecilia Parker, Albert Conti, Henry Stephenson, and a lot more! 

Oscar Hammerstein II and Sigmund Romberg gave their all on lyrics and 
music. And, with Ramon crooning the strictly Viennese ditties, we'll be big 
enough to overlook the triteness of the plot. 



THE NIGHT 
IS YOUNG 

• 
M-G-M 



GOLD DIGGERS 
OE 1935 

• 
WARNERS 



THERE'S music in the air this month! Which'll it 
be, folks . . . Hammerstein? ... or Warren and 
Dubin, who go to town on some right snappy numbers 
for the new "Gold Diggers" opus? 

We really needn't tell you that Dick Powell has the 
star spot as yodeller supreme, because, after all, who but our Dick could turn 
en the harmony "as you like it"? 

Dick is a young medical student, clerking in a fashionable hotel during 
vacations. 

He falls in love with Gloria Stuart, whose mother, a snooty widow, wants 
to impress the social world with her affluence by putting on a benefit show for 
the milk fund. 

Which brings us to what we've been waiting for all the time, with a hey, 
nonny-nonny and a One . . . Two . . . Three . . . Kick! 

The chorus numbers are, if anything, more elaborately beautiful than ever 
before. And Busby Berkeley, who has heretofore directed nothing but the 
dance numbers, is having a fling at putting the entire company through its 
paces. 

The day we stuck our nose on the set, Dick and Gloria were strolling the 
entire length of a colossal hotel lobby singing "I'll Go Shopping with You." 

Starting at the far end, they walked slowly, looking fondly into each other's 
eyes and saying it with music, followed every step of the way by the rubber- 
tired camera and most of the crew. 

Gloria's snobbish mother objects to her daughter's romance with what she 
considers a "nobody." But, after she gets the {Please turn to page 63) 

The New Movie Magazine, February, 1935 




and now the 





Pronounced 
"SEE- 
QUO- 
YAH" 



otm 



motion picture 
that wins 

SCREEN FAME! 



K 



f'< 



Two years ago it was the dream of its pro- 
ducers, Metro -Goldwyn- Mayer! The theme 
was so daring, so exciting that nothing since 
"Trader Horn" could equal its brilliant nov- 
elty. Now it is a stirring reality on the screen. 
Out of the High Sierras, out of the wilderness 
that is America's last frontier . . . roars this 
amazing drama of the animal revolt against 
man. A Girl Goddess of Nature! A ferocious 
mountain lion and a deer with human in- 
stincts! Leaders of the wild forest hordes! A 
production of startling dramatic thrills that 
defies description on the printed page . . . that 
becomes on the screen YOUR GREATEST EX- 
PERIENCE IN A MOTION PICTURE THEATRE! 




A GIRL GODDESS OF NATURE LEADS THE ANIMAL REVOLT AGAINST MAN 



with 



JEAN PARKER 

Produced by JOHN W. CONSIDINE, JR. 

Directed by CHESTER M. FRANKLIN 
Based on the novel "Malibu" by Vance Joseph Hoyt 



METRO-GOLDWYN-MAYER PICTURE 



The Netu Movie Magazine, February, 1935 



NAPOLEON'S 

with the troops .... 



MASTER 

with the ladies 



Arliss surpasses himself! 

• 

Wellington, the Iron Duke, 
who out- maneuvered 
Napoleon on the battle- 
fields and in the ball- 
rooms of France! 

Thrillingly portrayed by 
the electrifying genius of 
George Arliss! 




COMING 

TO YOUR FAVORITE THEATRE . , 



NOVA PILBEAM, in LITTLE FRIEND; 
CHU CHIN CHOW; POWER; 
EVELYN LAYE in EVENSONG; 
JACK HULBERT in JACK AHOY; 
JESSIE MATTHEWS in EVERGREEN; 
EVELYN LAYE, HENRY WILCOXON 
in PRINCESS CHARMING . . . 



^| GAUMONT BRITISH PRODUCTIONS 



The New Movie Magazine, February, 1935 




Charles Butterworth, Billie Burke, Rosalind Russell, Robert Montgomery, 
Joan Crawford and Clark Gable in "Forsaking All Others." 



NEW MOVIE MAGAZINE'S 

GALLERH 4 STARS 

Clark Gable has the honor of opening our gallery this month, for 
two good reasons. First, because a nation-wide poll of exhibitors 
shows him still to be running in first place in popularity. Second, 
because he is kind, honest, loyal; a fine actor and a fine man. 



The New Movie Magazine, February, 1935 







IN FRENCH, TETE-A-TETE. The last two stars we ever expected to see teamed in this world were Myrna Loy and Cary Grant. 
Their personalities and pictures are as unlike as black and white. But teamed they are, as fellow aviators, in "Wings in the Dark." 



10 



The New Movie. Magazine, February, 1935 




IN ENGLISH, CHEEK TO CHEEK. It's hard to believe, that Anita Louise and Tom Brown, are old enough to get married, but married 
they'll be, if the talk is true. For once the casting department has a heart, too, because they're together in "Bachelor of Arts." 



The Neiv Movie Magazine, February, 1935 



11 




THE CHARM OF ROMANCE. Every now and then the studios bring over 
another foreign hero for us, with loud blowing of trumpets. Francis Lederer 
is one of the rare few with staying-power. "Romance in Manhattan" was 
weak, but if he does "The Three Musketeers" we may have a new Fairbanks. 



12 



THE CHARM OF BOYISHNESS. When juveniles are 
good they are very, very good, and when they are 
bad they are horrid. Robert Young, thank heaven, 
is very good. His latest is'The Band Plays On." 

The New Movie Magazine, February, 1935 







THE CHARM OF RESTRAINT, Whatever it is that 
these quiet British chaps have, America seems to 
enjoy it. Herbert Marshall can do more with a fleet- 
ing smile than most actors can do with dynamite. 

The New Movie Magazine, February, 1935 



THE CHARM OF DIGNITY. Henry Stephenson is not a star. You generally 
see him as somebody's aristocratic father, or as a gruff, kindly old uncle. A 
cultured, experienced, cosmopolitan gentleman, his charm comes out clearly 
on the screen. You'll see him next as the Emperor in "The Night Is Young." 



13 




Otto Dyar 



14 



WARNER BAXTER. Why should we tell you that Warner Baxter will be with Janet Gaynor in "One More Spring, "we'd like to know? 
Shucks, you'll just go and see the dern ol' picture anyway. And did you see his grand performance in Columbia's "Broadway Bill"? 

The New Movie Magazine, February, 1035 










Euijrne Robert Richee 



CLAUDETTE COLBERT. A year ago she was in a slump. It happened one day that she turned comedienne in "It Happened One 
Night." Then tragedienne in the gilt "Cleopatra." And now Claudette triumphs with Fred MacMurray in "The Gilded Lily." 

The New Movie Magazine, February, 1935 



15 



GEORGE JEAN NATHAN'S 

MOVIE 
FAVORITES 



Continuing our series of Favorite Stars of 
Famous Men. Last month Sinclair Lewis 
chose Hepburn. Now Nathan picks three! 

By DOUGLAS GILBERT 



IMAGINE my surprise when I asked George 
Jean Nathan, a short time ago, to discriminate 
among the fair of Hollywood, to select her 
who stood above her talkie sisters in point of 
glamour and ability — and he complied. Complied? 
He fairly showered me with choices, awarding three 
apples, one each to Loretta Young, Jean Muir and 
Sylvia Sidney, for reasons you will hereinafter be 
informed. 

An academic skeptic, the First Critic of our legiti- 
mate theater, a delightful sneerer of the screen, it 
was Mr. Nathan's erstwhile habit to lock himself 
in his ivory tower in the Hotel Royalton here in 
New York communing with himself and the higher 
drama and available only upon the stage whisper 
of Eugene O'Neill. 

I hadn't known that in these recent years Mr. 
Nathan had been slinking into movie palaces. The 
drama had always been his one escape. It is a 
curious, but heartening, unmasking, Mr. Nathan's 
sudden interest in the films; for here is what he 
said to me but a few years ago: 

"The talkies are but fifteen-cent theater. The 
best I ever saw was 'Under the Roofs of Paris.' (A 
French film he saw abroad.) It was ingenious; but 
ingenious trash." 

Now, this February, under the cinema's broaden- 
ing influence, Mr. Nathan issues the following 
ukase: 

"I place in nomination these three women of the 
screen : 

"Loretta Young for her ability to play love 
scenes with infinitely more effectiveness than any 
of her contemporaries. She has, above all the 
others, the gift of convincing 'looking,' that is, the 
persuasion of an audience that her eyes are acting 

synchronously and 
dramatically with 
her ears. A number 
of screen players 
'listen' skilfully, but 
no one save Miss 
Young, in my opin- 
ion, so well com- 
bines the aforesaid 
'listening' and 'look- 
ing.' In addition, 
there is a warm, 
womanly quality in 
her that distin- 
guishes her from 
many of her highly 
artif icialized and 
spuriously arctic sis- 
ters. 

"Secondly, I would 
nominate as the best 
straight acting per- 




Jamett Montgomery Flngy 

George Jean Nathan, the 
ogre of Broadway, and 
the most feared of 
American drama critics. 



formance that I have seen in 
the last year that of Jean Muir 
in something called 'Desirable.' 
No other single performance 
that I have observed equals it. 
"In the third place, I should 
make note that, when it comes 
to substantial dramatic equip- 
ment in general, there is per- 
haps no young woman on the 
screen so competent as Sylvia 
Sidney. But it seems to be 
Miss Sidney's fate to be placed, 
in the majority of instances, in 
pictures that afford her no op- 
portunity to demonstrate her 
talents." 

HERE is a forthright ap- 
praisal, and I trust Mr. 
Nathan's celluloid harem will 
be duly appreciative. Others, 
including myself, will be appre- 
hensive. Let us take each of 
the Nathan girls in our stride. 
What truck, to begin, can Mr. 
Nathan have with Loretta 
Young? I think she is his most 
amazing choice. Mind you, I 
am not quarreling with Miss 
Young's ability, the ability Mr. 
Nathan rewards her with possessing. I, too, 
mire her love scenes. Oh, how I admire them. 

But what does Miss Young represent? In my 
opinion, something that Mr. Nathan instinctively 
rebels at — a good girl. She is the queen exponent 
of adolescence. She is always the girl playing at 
being a grown-up lady. In black velvet she is 
stunning. But you always feel as though she has 
been rummaging in mother's attic trunk, and dress- 
ing up. This is no flaw in Loretta 's screen tech- 
nique. On the contrary, it is an asset, a decided 
box-office asset. For she convinces adults that she 
is your own little girl, and you don't want to see 
her "done wrong" by the city slicker who is on 
the make. This is a curious expression of Loretta's 
career, for she is an old-timer in the films and it 
should long have given way in the light of her ex- 
perience. 

There is a yarn — probably a press-agent phony 
— that she was hired by Mervyn LeRoy because her 
voice was so appealing over the telephone. As the 
story goes, he called up one day to ask why her 
sister, Sally Blane, (also a film player) was not 
on the lot. Loretta answered and informed Mr. 
LeRoy that Sally had a bad cold. In substance 
he told her he liked her voice and, informed that 
she resembled her sister, asked her to report. She 




th Alexander 



Loretta Young for her ability to play love-scenes 



ad- 



did, and the rest of it is already known to you. 

What matters is that it could have happened. 
Insouciance, naivete, are the characteristics of Miss 
Young. She could well have answered the tele- 
phone as she is supposed to have answered it. She 
is the epitome of innocence. And I, for one, can- 
not fancy a sophisticate like G. J. N., who is never 
without the aloe in his pocket, tolerant of any such 
pristine, fundamental quality. For Mr. Nathan has 
ever followed the precept of Meredith that a strong 
sin is better than a weak virtue. 

Another thing, (which should be anathema to 
Mr. Nathan), Miss Young has had virtually no 
stage training. She went to the screen practically 
cold. And with a frightful start since she supported 
Lon Chaney, as her first bow, in "Laugh Clown, 
Laugh." This was pretty tough living down, 
especially when, as the girl foil of Edward G. Rob- 
inson in "The Hatchet Man," she was dubbed the 
"female Lon Chaney." 

In this film her make-up required her to assume 
the character of a Chinese maiden. And if you 
don't think this was a tough job try pasting fish- 
skin over the corners of your eyes, fasten it with 
collodion to make your eyes slant and then catch 
the free ends of the fish-skin with adhesive tape. 
You'll be something besides a Toya San after one 



16 



The New Movie Magazine, February, 1935 




Eugene Robert Ri-chee 



Sylvia Sidney for substantial dramatic equipment in general 



Jean Muir for the best straight acting performance 



hour. Loretta lived it down, despite such latter 
vehicles as "Employes Entrance" in which she suf- 
fered the lot of all stars — trying to salvage miles 
of celluloid tripe with a good performance. 

Happily, she got her chance in "Life Begins," 
and again in the recent "The White Parade." This 
is the nurse-hospital yarn in which Loretta was 
permitted to display the full extent of her talents 
which is first sincerity, and secondly, as Mr. Nathan 
well says, the art of "listening" while "looking." 

It would be nice to record a similar advance in 
the career of Sylvia Sidney. "Behold, My Wife" 
gave her little opportunty. (I find myself, how- 
ever unwittingly, justifying Mr. Nathan.) Para- 
mount, I regret to record, exercises no more judg- 
ment, despite the once benign interest of Mr. B. P. 
Schulberg, with Miss Sidney than they did with 
Tallulah Bankhead whose fine flair for high comedy 
they muffed repeatedly. 

Just so with Miss Sidney, her dramatic talents, 
save for her beautiful performance in United 
Artists' "Street Scene," are continually wasted. 
She has a fine sense of dramatic pathos. She is al- 
ways; and I speak now of her portrayals, the girl 
who is forever being done wrong by. And she plays 
these roles with such fortitude that one weeps at 
her strength — and the futility of it all. 



This strength of Miss Sidney's doubtless is what 
appeals to Mr. Nathan. His own life is based on 
a similar assurance, an identical poise. Miss Sid- 
ney, however miscast, is never "wrong in her roles. 
Neither is Nathan in his. He is as sure of his pose, 
a sureness based on experience, as she. He is the 
only man of our town and time who has justified a 
pose. Indeed, he lives by provocative epigrams: 

"To help a man (or woman) with talent you've 
got to kick down him who hasn't got it . . . Rein- 
hardt is fading out in Europe (this was before he 
was forced out by Hitler). .He is no longer the 
great director who sees through the playwright's 
manuscript, but indulges himself in excessive scenic 
mountings — a money spender." (He told me all 
this a few years ago, and how correct it is today! 
Have you West Coasters seen his "Midsummer 
Night's Dream" extravaganza?) 

Well, Sylvia is like that — like Nathan, I mean 
— the calm exterior, but seething within. The 
Nathan-Sidney academic affiliation is easy to un- 
derstand. Far easier than his admiration of Jean 
Muir, that juvenile madonna with a face not just 
too sweet. 

Jean has the most regular features of any girl 
in Hollywood — the dream of camera men who have 
said that hers is "the most perfect photographic 



face." They also add that "a blind man could 
snap her and she'd still photograph swell." This 
is probably publicity bunk for I have seen her 
mugged by the news-camera men at the Deauville 
Beach Club, and, dare I write it?, she was no 
bargain. 

I rather believe that what Mr. Nathan essen- 
tially admires in Miss Muir is her forthrightness. 
She is as courageous as Katharine Hepburn. Like 
Katie the firebrand, Miss Muir's "No" means No. 
She has no illusions about Hollywood or screen art 
generally. 

Only in Hollywood little more than a year, she 
said recently — "the trouble with Hollywood is that 
there are too many persons here who think the 
entire world revolves around them." An undiplo- 
matic statement, possibly, but Miss Muir has the 
honesty always to call a spade a shovel. 

She once told a friend of mine that she expected 
to stay only six months in the cinema; thought the 
studio executives crazy to bring her out there, and 
crazier to keep her. Maybe this is a pose, but I 
don't think so. She has too much innate assurance. 

As do her Nathanian sisters, Miss Young and 
Miss Sidney, she suffers, too, by miscasting and 
poor stories. It was a frightful thing to make her 
bear the brunt of cen- (Please turn to page 53) 



The New Movie Magazine, February, 1935 



17 




HUGH WILLIAMS 



QA "the. VCoqa err 3 UondjuUtirMJ^ 






VIOLET KEMBLE-COOPER 

>w Mam dwv> MwicLdcYiG. 



In all the customs and costumes of a by-gone age, like the portraits in the old family album, the characte 

The New Movie Magazine, February, 1935 



JS 




LIONEL BARRYMORE 



EDNA MAY OLIVER 

cm /I w«t TSeUjj 7/uttwxrvc( 



W. C FIELDS 




JESSIE RALPH 
cm Cta/ia VtuaotLu 




*X°£S* 





LENNOX PAWLE 
oa Ma Dick 




FRANK LAWTON 







HERBERT MUNDIN 



BASIL RATH BONE 



n "David Copper-field" will be presented to you soon. The immortal Dickens classic is being made by M-G-M 

The Neiv Movie Magazine, February, 1935 



19 





HUGH WILLIAMS 






In all the customs and costumes of a by-gone age, like the portraits in the old family album, the charact] 

18 The New Movie Magazine, February, 1935 




**"ss>* 



HU6H WILLIAMS 



, hus'h wa~ \£$&8& 

OA-Uie Via* J BUonJaitmt '** ^a"^ 1 



ROLAND YOUNG 




VIOLET KEMBLE-CO: PER 

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In all the customs 

18 









LIONEL BARRYMORE 



EDNA MAY OLIVER 

<u A writ Hetiu TnMu/xrwl 



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JESSIE RALPH 

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HERBERT MUNDIN 



BASIL RATH BONE 

ad EduMJid MuAddime. 



imes of a by-gone age, like the portraits in the old family album the choral '" " Dav 'd Copperfield" will be presented to you soon. The immortal Dickens classic is being made by M-G-M 



The New Movie Magazine, February, J 935 



Tl >e New Movie Magazine, February, 19S5 



19 



That GAY GIRL GINGER 




Elsie Janis catches the breath-taking Ginger 
Rogers on a flying trip to New York and 
writes an equally breathless interview for you 



By 
ELSIE JANIS 



At the New Movie luncheon, along with Ginger, were the 

Duncan Sisters, Eddie Cantor, and Harry Hirshfield, the 

cartoonist. Below: Ginger with Elsie Janis. 




Leila Rogers, Ginger's mother, had her dancing in vaudeville long before she ever grew up into 
the glorious, sparkling dancing-partner of Fred Astaire, in "The Gay Divorcee." 



Wide World 



GINGER has everything. Everything, including a "swell" 
• mama! By the time you read this both of the Rogers 
girls, who suggest a successful sister act more than a 
mother and daughter, will be back in Hollywood. New York's 
loss and mine. They were new friends who seemed like old ones. 
I'm rapidly falling for the "go East now and then for excite- 
ment" theory to which so many of the screen stars cling con- 
sistently. 

No sooner had I arrived in the Metropolis than a streak of 
bright sunshine, done up in a suit of chic cinnamon brown, swept 
across my path. I rubbed my eyes and said to a young fellow 
who knows most everything, "Who's that?" The young fellow's 
eyes, which are famously round and permanently popped, outdid 
themselves as he learned that I could live in Hollywood and not 
know Ginger Rogers. Biting the dust of embarrassment, I ex- 
plained that one can be too close to beauty to recognize it. I 
really didn't have to explain to him. This knight of the round 
lamps was Eddie Cantor and he knows his Hollywood. 

He and I were sort of guest of honoring it side by side at a 
luncheon given by the A. M. P. A. (Association of Motion Pic- 



20 



ture Advertisers.) Ginger was snatched off a train and whisked 
into the party as a delightful piece de resistance. In a speech 
for which she was "quite unprepared" she gave me the impres- 
sion of a gal who was born prepared for most anything. When 
I met her mother I knew why Ginger balances a cool "bean" 
under that crop of carrot-colored curls. 

The luncheon was given in honor of the Publisher of Tower 
Magazines, of which New Movie is one, on the occasion of the 
fifth anniversary of their founding. The guests included many 
famous actors and actresses of the screen and stage and many 
of the finest performers on the air, as well as leaders in business 
and social circles. As the festivities drew to a close, I saw the 
Tower clan forming a group. With a light of enthusiasm gleam- 
ing in my Ginger-stalking eyes, I dashed up to them. 

"What about getting a story on her now?" I nodded in the 
direction of the vivacious Ginger, 
who was surrounded by admirers. 

"Swell!" said the editor, being 
himself. 

"Splendid!" said the lady boss, 



Ginger hopped the 
train to Hollywood 
about five minutes 
after this interview. 




Mrtropolit 



The New Movie Magazine, February, 1935 



adding a touch of refinement to the conversation. 

"I'll get her now!" said Janis the intrepid. 

Before I could make my speech which was rap- 
idly prepared while crossing the room, Ginger held 
out her hand saying, "Miss Janis, I am so happy 
to meet you. I've always admired you and I love 
your articles in New Movie." Well, now I ask 
you! Even if I hadn't already thought she was 
grand and been all set to tell her how I had been 
watching her ever since she sauntered into the pic- 
ture "Forty-Second Street," how I had been thrilled 
by her performance in "Gay Divorcee" and a lot of 
other things, I would have had to be old lady 
Gibraltar herself not to waver under that barrage 
of flattery which, delivered in the frank, unaffected 
Rogers manner, sounded extremely sincere. 

"I want to do one about you!" I said on recov- 
ering my equilibrium, "but if you are only going 
to be here five days you will probably be too busy." 

"I won't be too busy," said Ginger. "Say when 
you want to see me and I'll put off something else." 

The Press surrounding us stirred a little im- 
patiently. 

"Tuesday lunch?" I gasped. 

"Absolutely. Where?" 

A camera man edged in. "May we get a pic- 
ture, Miss Rogers?" 

"Sure. Just a minute. Where?" Ginger re- 
peated. 

"Algonquin. One o'clock." I said, and was 
carried away on a tide of Rogers rooters. 

Tuesday morning, I came in from the country 
early. I wasn't taking any chances. At the Algon- 
quin my phone rang and a secretarial voice said, 
"I'm speaking for Miss Rogers. Miss Ginger 
Rogers," she added. 

If she breaks this date I'll never believe in Santa 
Claus or Roosevelt again, I thought. "Yes! What 
is it?" I said somewhat frigidly. 

"Miss Rogers wants to know if you would mind 
lunching with her in her apartment. She was up 
very late and " 

"Certainly not. I'd love it!" I cut in. "Where?" 

"Waldorf Towers." 

"O. K." What is it about those Towers that 
lures the cinema stars? They make me dizzy, yet 
every time I want to see a pal from Hollywood I 
have to be shot up practically to heaven and 
nobody's handing out wings. 

Ginger was fairly conservative. She was only 
on the twenty-seventh floor. She opened the door 
herself. A very different Ginger from the brown 
and gold stream of sunshine that blinded the A. M. 
P. A'ers. Still sunshine, but of a more placid and 
pale variety. The carrot curls are slicked back 
from the extremely white brow. They nestle re- 
signedly in the nape of a slender and equally white 
neck. She looks much (Please turn to page 54) 





Real names: On the marriage license Ginger 

signed "Virginia Katherine McMath," and 

Lew signed, "Lewis Frederick Ayer." 





Wide World 



<Lm* -;*S**** 



Left: Ginger and Lew cut their wedding cake. 
Above: Mary Brian, Ginger's mother, and Janet 
Gaynor. Mary and Janet were bridesmaids. 



The New Movie Magazine, February, 1935 



21 



RALPH BELLAMY 
tells on 

FREDRIC 
MARCH 



Sometimes your best friend does tell, and Ralph 
says Fredric March is an incurable clown 

By RALPH BELLAMY 



Editor's Note: Few persons could be so well qualified to present an 
intimate picture of Fredric March as Ralph Bellamy. The two families 
are Hollywood's most popular social foursomes, and their close associa- 
tion enables Ralph Bellamy to reveal the unknown Freddie March whom 
we should all like to know. 

SERIOUS as he appears on the screen, the Freddie March I know is 
a born comedian. Sometimes I suspect he is possessed of an imp, 
for the way he gets into mischief is little short of diabolical. 

But try to put your finger on his humor, and it eludes you. He makes 
fun on the spur of the moment, and will seize upon an opportunity to 
pun, with the most excruciating results. At certain times he will go on a 
veritable punning spree that is positively fiendish if not devastating. 

The practical joke is not for Freddie. 
That style of humor is premeditated, 
and Freddie March never bothers to ar- 
range a laugh. His penchant for fun- 
making crops out as soon as he gets off 
the set. When the director sees a 
wicked gleam coming into Freddie's 
snapping eyes, he may as well sit back 
and wait until March gets the mirth out 
of his system, for his is the kind of 
puckish, whimsical humor that will 
bubble over when you least expect it. 

One night the four of us — my wife 
Catherine, Florence Eldridge, Freddie 
and myself — decided to attend a 
Shakespeare play. Freddie and I had 
both trod the boards in the Bard's 
dramas, and we hankered to hear the sonorous 
lines again. 

Unfortunately the performance was so poor 
as to send us all into utter boredom. And 
that is one thing that Freddie can't endure. 
He and I began to fidget and squirm, and 
finally began a low but heated argument over 
nothing at all. 

Two very fat female devotees of the theater 
kept turning around and glaring balefully at 
us, but Freddie was in no mood for behaving 
himself when Shakespeare was being done to 
death behind the footlights. 

This went on for some time, with the ladies 
in front shushing and glaring back alternately. 
Finally, during an important hush on the 
stage, the fat lady in front of Freddie sneezed. 

Freddie leaned forward, outraged and dig- 
nified, and tapped her on the shoulder. 

"Quiet, please!" he said in a tone of great 
annoyance. 

The irrepressible Freddie used to be a 




Kenneth Alexander 




Left: Fredric March in his 
costume for "We Live 
Again," in which, as the 
young Russian nobleman, he 
lets himself be exiled to Si- 
beria for love of Anna Sten, 
who reformed him. 



Right: Fredric with his 
wife, who is known on the 
stage as Florence Eldridge. 



Cosmo Sileo 



22 



The New Movie Magazine, February, 1935 



perfect pest at bridge parties. He would drive us 
frantic with sotto voce kibitzing, and look hurt if 
we protested. In pure self-defense we determined 
that he would either have to learn to play or be 
locked up in the cellar. 

Catherine, Florence and I cornered him one day 
down at their Laguna Beach home, and crowded all 
"ten easy lessons on bridge" down his throat at one 
sitting. It was our only hope of bringing peace to 
our innocent little diversion. 

But we all had to listen first to Freddie's protest 
that bridge was the cause of quarrels, bickerings, 
divorces and (hoarse whisper) even murder! We 
must swear a solemn oath never to say a cross word 
across the bridge table. 

We sat down to our first game, dealt the cards, 
and played out the hand. As the last trick was 
taken in, Freddie levelled his finger at Florence 
and excoriated her with: "Why did you make such 
a terrible lead? You could have set them by lead- 
ing back my heart! And if you must play bridge, 
play it well or don't play at all!" 

For a few horrified minutes none of us realized 
that it was another of Freddie's ribbings. 

Actually, I have yet to overhear a cross word be- 
tween the Marches. They are completely devoted, 
enjoy each other's company thoroughly, and truly 
know the secret of enjoying a happy marriage. 
Possibly this is due in a measure to the fact that 
both have such a grand sense of humor. 

Freddie March is generous to the point of mak- 
ing it his only vice. His tender heart marks him 
out as a softie for the cagers and petty grafters one 
encounters in picture business. 

There is one actor here, for example, whom Fred- 
die has supported for years. Freddie doesn't think 
any one knows it, but I have observed Freddie go- 
ing to great lengths to get this old fellow a day's 
work in pictures, so that the actor can preserve his 
illusion that he still is capable of earning a living. 
At regular intervals Freddie delivers a check to 
him — often the old boy collects it in person for 
the pleasure of a chat with his benefactor. 

He is extremely generous in his gifts to Florence, 
yet so exceedingly sensitive is he that he will stu- 
diously avoid any opportunity for her to thank 
him before others. I remember one Christmas 
when, after she had unwrapped so many gifts that 
it would seem Freddie had exhausted all his re- 
sources, he assumed an air of nonchalance and 
drew out a crumpled wad of paper from his pocket. 



"Oh, yes, here's something I forgot," he mur- 
mured, and tossed her the packet. 

It was a gorgeous dinner ring, but when Florence 
turned to thank him, he had slipped away. 

He takes his screen work very seriously. It is 
exceedingly important to him and to his wife also, 
for Florence — herself a noted actress — gives his 
career precedence. 

The fact that his roles usually call for sober and 
intent characterizations is sufficient reason for the 
public to obtain a different picture of the March 
on the screen and the Freddie of private life. Even 
so, one can detect that undercurrent of mischievous 
humor that makes his pictures so unforgettable. 

He has a fine dignity of bearing, and is practical 
and level-headed in his affairs, but that irrepressi- 
ble humor will come popping and bounding forth 
at the most unexpected moments. 

I have seen celebrities gather about him as if 
they were magnetized. His keen wit and his at- 
tractive personality naturally draw people to him. 

But let there be one of those 
pompous, conceited, puffed-up fel- 
lows enter the group, and beware! 

Freddie has few antipathies, and 
the egomaniac is probably all of 
them. 

He deals with them in his own 
devastatingly ingenious manner, 
leading the fellow on to boastful 
heights, masking his intent with a 
very serious face while the rest of us 
struggle to hide our growing amusement. 
Then, with one bold thrust, Freddie will 
completely deflate the egotist. He does 
it so cleverly that the fellow may not even 
be aware of what has happened to him. 
As a pin pricker of pomposities, Freddie 
knows no master. 

He has a tremendous supply of nervous 
energy and is constantly on the go. Dur- 
ing a bridge game I have observed him 
trying to sit still, and failing, he will get 
up and empty ash trays or stride off after 
cigarettes, even while playing a hand. 



1+ seems Ralph does a little clowning, 
too. He and Freddie put on this horri- 
ble imitation of Clark and McCullough 
at a Hollywood costume party. 



This nervous restlessness makes it impossible for 
him to sit back and let a chauffeur drive the car. 
He must always take the wheel himself. He does 
everything well, and is a fine driver, but the way 
he goes around corners and scoots through traffic 
will make your hair rise. 

When we are going out together, Catherine and 
Florence will often take the back seat where they 
can talk. But after a few blocks most of the re- 
marks are directed at Freddie's breath-taking style 
of motoring. If we are late for a social engage- 
ment, Freddie considers this sufficient excuse to 
show us all what real {Please turn to page 47) 





At the left, Ralph, and at the right, Ralph and Freddie 

playing badminton. Freddie, you'll notice, still flaunts 

his "Wimpole Street" whiskers. 



The New Movie Magazine, February, 1935 



23 



I 



! 








Mildred Lloyd and the two girls are just 
above. At the right, over the picture of their 
daddy in "The Cat's Paw," are all three of 
the children, Peggy, Harold Jr., and Gloria, 
in the grand playhouse Harold built for them. 



24 



The Most 
Uninteresting 

MAN 

in Hollywood 



About the most dramatic moment in 

Harold Lloyd's life comes when he 

mends the lawn-mower. But don't let 

our title fool you, please ! 

By WHITNEY WILLIAMS 



HAROLD LLOYD, from a strictly editorial standpoint, is the 
most uninteresting man in Hollywood. 
Nothing ever happens to him ... he never becomes involved 
in scandal, or even rumor . . . effect and the spectacular hold no place in 
his mind or actions ... his life progresses at such an even tenor that it 
resembles nothing so much as that of the average young business man. 
Yet, he is one of Hollywood's wealthiest citizens ... his popularity 
is surpassed by no man or woman in the world of entertainment. 
Nowhere in the whole film colony will you find a more affable or charm- 
ing gentleman to meet or pass the time of .day . . . and to newspaperman 
and star, studio worker and man in the street, he is "one regular guy." 
Garbo, though silent, if she were to talk; Colman, long considered the 
hardest man to interview in the motion picture capital; Barthelmess, 
who gets jittery every time he sees a writer, even from afar — all these 
provide founts of color and inspiration, compared to this young man 
whose rise from obscurity to the loftiest pinnacle of cinema success 
was dependent upon two elements alone, Ability and Hard Work. 

Starting out as an extra — he forced his way into a studio many years 
ago by donning grease-paint and joining a crowd of actors as they 
walked through the gates — Lloyd met another young chap who also 
was destined for great things in the picture world. This lad's name 
was Hal Roach, and together the two rose to fame and great fortune. 
Harold always had wanted to be an actor. Indeed, his parents had 
moved to California from Nebraska for the express purpose of indulg- 
ing their young son's ambition. But his wish was no mere whim ... he 
had acquired training in summer stock companies as a boy, a great 
dramatic coach (a friend of the family) had drilled him for years in 
the art of acting and expression. So it was with considerable knowledge 
of what he wanted that Harold tried his luck at the studios. 

When he met Roach, the future producer was eking out a pre- 
carious existence as an extra, along with Harold. Ambitious, with 
an eye to the future, Roach inherited a small fortune and decided 
to make pictures himself. He offered Lloyd a job at forty dollars 
a week. Needless to say, Harold accepted, for that sum seemed 
like a mint to him. 

From their chance meeting on a set, Lloyd and Roach rapidly 
developed in the short-subject production field. The former began 
his comedy career with a nondescript character he called Willie 
Work. From that, he progressed into the Lonesome Luke character, 
and years as this be-mustached, tight-trousered figure advanced him 
to the top of the heap in slapstick. Then Lloyd initiated the wear- 
ing of horn-rimmed glasses in his comedies. His first four pictures 
proved his judgment correct. 

From one-reelers, he went into two-reel comedies, and then three's. 
Of these, "Never Weaken" will be best remembered. Finally, he 
made his first feature, "A Sailor Made Man." His daring and good 
judgment were further vindicated when he filmed "Grandma's Boy." 
Even Hal Roach predicted failure for him in attempting anything 
so ambitious as to portray a story on the (Please turn to page 52) 

The Neiv Movie Magazine, February, 1935 



I 



Below: If you saw "La Cucaracha," — did you know it was a se 
Right: Robert Edmond Jones, the Christopher Columbus of this i 





Last month we told you about 
grand opera on the screen. 
This month we take you be- 
hind the scenes with a revo- 
lutionary new color process 

By GERALD BREITIGAM 




latitat A. Bachiach 



It is from sketches like this (above) 

that Jones and the scientists and 

artists who help him, work. Each scene 

of the film is first plotted in color. 



COLOR MAGIC 
ON THE SCREEN 



THE beauty of color has come to the screen at last. 
It well may be, in fact, that this will revolutionize 
the making of movies, will work as great a change 
as did the coming of sound. 

Already, in fact, the revolution is under way, for fol- 
lowing the enthusiastic public reception of "La Cucaracha," 
a number of full-length features ("Cucaracha" is a short) 
have been planned or definitely scheduled. 

Foremost among these is "Becky Sharp," from Thack- 
eray's famous novel, "Vanity Fair," which will be made 
by the producers of "La Cucaracha." In addition, Merian 
Cooper is planning to do "The Last Days of Pompeii" in 
color for RKO; Walter Wanger proposes to present Ann 
Harding in color in "Peacock's Feather," for color is 
especially favorable to blondes; Warner Bros, may give us 
"The Miracle" in color. Besides all of which, Walt 
Disney has the new three-color process sewed up for ani- 
mated cartoons for one year, and all the Mickey Mouse 
and Silly Symphonies are now appearing in color. 

It will take time, of course, for color to tint the screen 
of every movie theater. Just the same, whether the movie- 
■ goer lives on the borders of the Rio Grande or in the 
granite mountains of New Hampshire, on the prairies of 
Kansas or in the fat brick towns of the Eastern Shore, 
before he is many months older he'll be going to his 
neighborhood movie and seeing a film done in all the glow- 
ing colors of life. 

But, the inveterate movie-goer will protest, color is 
nothing new on the screen. In fact, he recalls that as far 
back as 1915 there were movies in color. Moreover, he 
remembers that the color application was never really sat- 
isfactory, for outlines were blurred and a general effect 
of fuzziness was apparent. 

To all of which one can enter no objection. There were 

The New Movie Magazine, February, 1935 



some good early color pictures, but then came a "color 
cycle." The work was done hastily and it was botched, 
with the result that color in the movies took a terrible 
licking. The real fault, though, say the Technicolor ex- 
perts, was that up until today they had only a two-color 
process whereas now they have a three-color process. They 
could only make chromes; they could not really simulate 
nature, let alone improve upon it. 

With this process however, Technicolor now can produce 
every color in the spectrum — and register it firmly, without 
any blurring or fuzziness. The Disney cartoons and the 
feature-short, "La Cucaracha," have established that fact 
beyond dispute. 

"We have something for you movie-goers," says Tech- 
nicolor triumphantly, "something that will give you a 
richness and a satisfaction from your screen entertainment 
such as you never received before." 

The Technicolor people, incidentally, ought to know, 
for the story of color on the screen is the story of Techni- 
color. This company, established 
by graduates from the Massachu- 
setts Institute of Technology, takes 
its name from their alma mater. 
Technicolor holds all the patents. 
There is nobody else in the field. 

Technicolor builds its own 
cameras for the new three-com- 
ponent process of taking movies in 
color. Some people used to believe 
that a picture was filmed in black 
and white and color then applied 
by hand to the negative; that the 
negative was painted by an artist, 
in short. (Please turn to page 56) 








Steffi Duna and Don Al- 
varado took part in the 
first experiments , and 
John Barrymore helped. 

25 




Jean Harlow 




Mae West 



Margaret Sullavan 



NEW MOVIE FORECAST ,'. 



OR 
935 



With the New Year the spotlight picks out here an old face, there a new one, and then — moves on ! 
Which will you make your prime favorites this year? Here is Ramon Romero's annual guide 

to keep and check against during the months that follow 



THE year nineteen hundred and thirty-five 
is definitely marked to see more important 
and significant changes in the motion picture 
industry than in any other previous year since the 
advent of talking pictures. In the near-decade just 
ending, during which time the screen passed from 
silence to sound, and from written titles to spoken 
dialogue, a new constellation of stars has prac- 
tically replaced the older order, together with new 
directors and outside writing talent from every 
branch of literature. 

The infusion of new blood into the staid and tried 
ideas of Hollywood brought into the production of 
motion pictures a super-sophistication which found 
its birth in everything from the gutters of Paris to 
Mae West's playhouse emporium in the Roaring 
Forties of New York, and through the years gained 
impetus in a certain public demand to its inhibitions 
expressed in terms of cinema. Encouraged by box- 
office receipts, and blinded by bad taste, the pro- 
ducers lost all perspective of the difference between 
entertainment and sensationalism, resulting in the 
censorship upheaval of 1934. 

The result of this puritanical tumult will make 
itself felt in every branch of photoplay production 
during the coming year. Automatically a new 
moral code has been created, and by its standards 
old stars will fall and new ones rise; stories and 
plays bought for fabulous figures will either be dis- 
carded or completely rewritten; motion picture ad- 
vertisements will take on a new dignity, the same 
being true of everything pertaining to the fifth in- 
dustry and the personalities it involves. 

HOLLYWOOD has definitely recognized cen- 
sorship. Instead of putting up a battle 
against the churches and other religious organiza- 



tions in the "Decency 
Drive" campaign, the pro- 
ducers have accepted the 
ultimatum at a loss of mil- 
lions of dollars in prepared 
scripts; having abolished 
gangster themes, horror 
pictures, underwear pa- 
rades and all risque sex 
angles from their 1935 
schedules. The tail-end of 
1934 found such naive fare 
as "Girl of the Limberlost," 
"Mrs. Wiggs of the Cab- 
bage Patch," "Anne of 
Green Gables" and "The 
Barretts of Wimpole 
Street," competing for box- 
office records with Mae West's "Belle of 
the Nineties," (which was refilmed three 
times in the grand clean-up), and the 
denatured Jean Harlow films. 

The chief danger of this self-accepted 
censorship lies in going to the other ex- 
treme by flooding the market with a 
series of "Pollyanna productions." Such 
homespun relics of a Victorian past as 
"The Little Minister," "Way Down East" 
and "Little Men" are about to descend 
like an avalanche of angels upon a sex- 
saturated movie audience. 

Eventually censorship may mean the 
salvation of the movies, bringing about a 
progressive regeneration of Hollywood 
ideals; resulting in the creation of a 
great literature of the screen that will 
place it in one of the highest places 




Ramon Romero, 
the Author 



1934 

TEN MOST POPULAR MEN STARS, 
IN ORDER 

1. Clark Gable. 2. Will Rogers. 3. Wal- 
lace Beery. 4. Bing Crosby. 5. George 
Arliss. 6. Dick Powell. 7. Eddie Cantor. 
8. Joe E. Brown. 9. James Cagney. 10. Fred- 
ric March. (See photographs below.) 

TEN MOST POPULAR WOMEN STARS, 
IN ORDER 

1. Mae West. 2. Joan Crawford. 3. Norma 
Shearer. 4. Kay Francis. 5. Janet Gaynor. 
6. Jean Harlow. 7. Claudette Colbert. 
8. Shirley Temple. 9. Ann Harding. 10. 
Margaret Sullavan. (See photographs at 
top of page.) 

ALL THE BIG HITS OF 1934 WERE 
CLEAN 

1. It Happened One Night 

2. The Thin Man 

3. One Night of Love 

4. David Harum 

5. House of Rothschild 

6. Footlight Parade 

7. Little Women 

8. Little Miss Marker 

9. Twenty Million Sweethearts 
10. Roman Scandals 



Fredric March 



Bing Crosby 



Dick Powell 



Wallace Beery 



Eddie Cantor 




26 



The New Movie Magazine, February, 1935 



*•+ 



*i 




She 




Will Jimmy Savo, above, step 
into Chaplin's place? 





Or will Charlie Chaplin stay 
forever the one and only? 



Little Shirley Temple won a place 
for herself among the ten most 
popular women, above, so we gave 
her a great big place. And gladly! 



among all the arts. Already there is a reflection of 
this prophecy in the studio announcements of a 
forthcoming series of films based upon the great 
world classics from the pens of Shakespeare, Kip- 
ling, Dickens, Dumas, Barrie, Thackeray, Steven- 
son, Poe, Wilde, Dante, Rostand, H. G. Wells, 
O'Neill and other great authors. 

In addition such a genius from the theater as 
Max Reinhardt is affiliating himself with the newer 
medium of expression. 

HOLLYWOOD is moving in the right direction, 
toward better and finer achievements. The 
cheap ballyhoo is disappearing. Even the flashy 
premieres seem a thing of the past. The new 



Ann Harding 



dignity is reflected in the new 
type of star, and in the choice of 
stories. It is safe to predict that 
the "Renaissance" of the movies 
will begin in 1935. 

Does the public welcome this 
change? Will they continue to 
patronize the movies in its new 
dress of culture and refinement? 
Will the mob clamor for a Mae 
West invitation to come up some 
time, for a Jean Harlow undrap- 
ing, or a glorification of a nice 
gal like Ann Harding having an 
illegitimate child to nice, weepy 
music? 

Of the dozen smash hits of 
1934, financially speaking, ten 
were technically clean pictures, 
featuring domestic life, children, 
music and comedy devoid of 
salacious gags. The public has 
chosen — and the producers will 
oblige. 1934 produced three out- 
standing stars; Margaret Sulla- 
van, little Shirley Temple, and 
the songbird, Grace Moore. 
Compare these with the previous 
year's sensational rise of Mae 
West and Katharine Hepburn! 
In this comparison is your best 
barometer of the changing times. 
Three months prior to the 
writing of this forecast for New Movie I made a 
tour of the country. I have been in the largest 
cities and in the smallest hamlets; have talked to 
cosmopolitan matrons and to Main Street house- 
wives ; to city sophisticates and to small town every- 
day people who make up the vast mass of movie- 
goers. On a large ocean liner, plying between New 
York and New Orleans, I questioned two hundred 
and fifty people one night, people from every walk 
of life and from practically every state in the 
Union, asking them what kind of pictures they 
wanted to see, and the type of stars they approve. 
As a whole they were pretty well fed up with the 
sex drivel Hollywood has been feeding them. Their 
intelligence and tastes have been underestimated. 



vford 




Kay Francis 



THE predictions I am about to make for the 
stars and production policies of 1935 are based 
upon practical knowledge. There is to be no at- 
tempt at fortune-telling or wild guessing. Rather, 
by a process of calculation, and a thorough check- 
up of each studio's plans, as well as a compiled 
estimation of the attitude of the movie fans them- 
selves I have been able to crystallize a conclusion 
that will be as nearly accurate as it is possible to 
be in a business whose very life's blood is constant 
change. 

STAR-STOCK MARKET FOR 1935 

The rise and fall of stars in Hollywood is very 
much like the rise and fall of stocks in Wall Street. 
Sky-high today. Rock-bottom tomorrow. The 
Bulls and Bears of movieland buy and sell with the 
same ruthless madness of brokers in the wheat pit. 
One career goes down as another goes up, in the 
crazy see-saw of picture making. Each star, each 
featured player, even the unknown novice, is an 
individual stock. 

The big name stars and featured players are a 
producer's preferred stock. They are the Mae 
Wests, the Katharine Hepburns, the Clark Gables 
who pay large dividends to the companies who have 
gambled on their talents. Each major studio also 
holds under contract large shares of common stock, 
in the parlance of Hollywood the stock company 
players, who comprise everything from well-known 
character actors from Broadway to a Brown Derby 
waitress who happens to have potential starring 
possibilities. 

The stockboards of Hollywood tell tragic and 
glorious tales as the Preferred and Common stocks 
fluctuate up and down, from month to month, and 
year to year. Every twelfth month a whole group 
of famous names disappear into oblivion as obsolete 
stocks, while dark horses appear to take their 
places. Common stocks change magically into Pre- 
ferred. A few bad pictures, a silly rumor, a scandal, 
can send a star-stock tumbling down to zero; 
causing the producer to sell short. On the other 
hand a good break, a few excellent notices, well- 
planned publicity, can shoot an unknown stock up 
to the heights overnight, with every producer 
clamoring for it. We refer you to the cases of 



Will Rogers 



George Arliss 



James Cagney 



Clark Gable 



Joe E. Brown 





The New Movie Magazine, February, 1935 



27 




Ricardo Cortez 
nging his style? 



Edward G. Robinson 

Another dual role? 



Peter Lorre 

A foreign technique. 



George Raft 

To stay Oriental? 



Jack La Rue 

Seeking new roles! 



Margaret Sullavan, Shirley Temple, Jean Muir, and 
Jean Parker. 

Sometimes a well-known star-stock whose value 
is stagnant because of bad publicity, unsuitable 
parts or other obvious reasons, suddenly begins to 
rise — and the word comes shooting across the con- 
tinent from public, exhibitor and sales force; BUY! 
BUY! BUY! Such were the fates of Claudette 
Colbert, Myrna Loy and William Powell in 1934. 
Here were three veteran players whose stock was 
about to be thrown into the open market for all 
takers, if there happened to be any. "It Happened 
One Night" and "The Thin Man" sent their stocks 
to the top. The New Year finds them in the very 
preferred list. 

But 1934 did not deal so kindly with Ruth 
Chatterton, Richard Barthelmess, Bebe Daniels 
and Clara Bow; top-notch performers whose star- 
stock value has dropped to a new low, due largely 
to bad pictures. As we go to press all of them, 
contract stars for years, are without permanent 
contracts. 

Panics occur in the star-stock market of Holly- 
wood just as they do in the financial canyons of 
Manhattan. The talkie panic of 1928 brought 
havoc to such sterling names as John Gilbert, Mary 
Pickford, Norma Talmadge, Colleen Moore, Cor- 
inne Griffith, who were among the greatest box- 
office attractions of the day ; mercilessly eliminating 
their names from the Hollywood stock board. Re- 
placing them were the new movie names— Ruth 
Chatterton, Ann Harding, Barbara Stanwyck, Mar- 
lene Dietrich, Helen Hayes, Leslie Howard, Robert 
Montgomery, Clark Gable and the late, beloved 
Marie Dressier, the greatest box-office star of 1933; 
who, alas, is eliminated from the star quotations in 
1935 by death. 

1934 brought another such panic to the Cinema 
Capital. The Censorship Panic! Again careers 
were threatened. Again havoc stalked through 
mansions in Beverly Hills. Again producers were 
selling star-stocks short! The dawn of 1935 finds 
a certain group of box-office sensations with their 
heads under the guillotine; their fates hanging on 
the dangerous precipice of extinction. Oh, uneasy 
lies the head that wears the crown — of sex! 



Note, too, that almost every 
major lot has a second Janet Gay- 
nor on the star list for 1935. Metro- 
Goldwyn-Mayer have Jean Parker. 
Warner Brothers are plugging the 
sweet-faced Anita Louise, as well as 
Jean Muir. Columbia have signed 
Marion Marsh to a long-term con- 
tract following her triumph in "Girl 
of the Limberlost." Radio pictures 
have great faith in Anne Shirley, 
who takes a big leap into promi- 
nence in the title role of "Anne of 
Green Gables." At Paramount 
Helen Mack may be groomed along 
the same lines. Mary Pickford, the 
prototype of all these 1935 Polly- 
annas, has been a sensation in her 
national radio broadcasts, paving 
the way perhaps, for a comeback. 

In the early days of the movies 
Mary Pickford, Lillian Gish and 
Mae Marsh ruled supreme as the 
"Halo-heroines," competing at the 
box office with such earlier Garbos 
and Mae Wests as Theda Bara, 
Louise Glaum and Valeska Suratt 
and outliving them in popularity by 
a wide margin of years. If history 
repeats itself, as it usually does, the 
Janet Gaynors, the Margaret Sul- 
lavans and the Jean Parkers of to- 
day will live on in popularity long 
after Mae West, Constance Bennett 
and Jean Harlow have ceased to be 
movie stars. 

Looking one year into the future, 
across the bridge of time, let us ex- 
amine an imaginary Hollywood 
stockboard at the end of 1935, and 
see how censorship will have 
affected the positions of the stars 
and featured players. In order to 
simplify matters we will divide 
Hollywood into four classes of 
stocks; Gold-Bond stars, Preferred 



Can any of these take Jackie Cooper's or Shirley Temple's place? 



1935 FILMS WILL GO BACK TO THE FARM. 



COMING: 



Way Down East, with Janet Gaynor and 
Lew Ayres 

Babbitt, with Guy Kibbee and Aline Mac- 
Mahon 

Main Street 

Ruggles of Red Gap, with Charles Laugh- 
ton 

The Old Homestead 



Ah, Wilderness! 

Tish, with Edna May Oliver or Pauline 

Lord 
Broken Soil, with Anna Sten and Gary 

Cooper 
The Story of a Country Boy 
The County Chairman, with Will Rogers 



COSTUME AND BIOGRAPHICAL PICTURES COMING 



The Iron Duke, with George Arliss 
Anthony Adverse. Probably Leslie How- 
ard 
Sutter's Gold, with Henry Hull 
The Crusades, with Henry Wilcoxon 
The Good Earth, perhaps with Richard 
Barthelmess 



Three Musketeers, with Francis Lederer 

Beau Brummei, with Leslie Howard 

Clive of India, with Ronald Colman 

Caprice Espagnole, with Marlene Dietrich 

Richelieu, with George Arliss 

So Red the Rose, with Pauline Lord 

Old Kentucky, with Janet Gaynor 




Baby LeRoy 



Juanita Quigley 



David Holt 





Billy Lee Cora Sue Collins Virginia H'eidler 




Three new teams popped up in 1934 — Myrna Loy and William 

Powell, Bing Crosby and Kitty Carlisle, and Kent Taylor and 

Evelyn Venable. Will any of them win a place in the fans' hearts 

to rival that of Janet Gaynor and Charles Farrell? 




28 



The New Movie Magazine, February, 1935 



Players. New Faces and Common-stock Dark 
horses. Take a gamble on your favorites. Allow 
New Movie the honor of acting as your broker. 
The Hollywood stock exchange is open for business. 
Watch vour tape closely. Here are some HOT 
TIPS! 

GOLD-BOND STARS 

NORMA SHEARER! Might easily become the 
First Lady of the Screen. Safely away from sex 
roles, she was even more of a sensation in "Barretts 
of Wimpole Street" than she was in "Smilin' 
Through."' She rates a hundred points. 

MAE WEST! Should, and will retain top rating 
if allowed freedom in her work. Her answer to 
the censors is "Now, 1'ma Lady," her first picture 
for 1935. 

SHIRLEY TEMPLE! Her stock rises point 
after point. Will be close to the top, rivaling Janet 
Gaynor's popularity on her home lot. A grand 
little trouper who will grow up all too soon. This 
is her big year. 

JANET GAYNOR! Her popularity remains un- 
diminished and unquestioned. Hardly the rage in 
the key cities, she is still the favorite of provincial 
America. 

GARBO! "The Painted Veil" may do much 
to retrieve some of her depreciated value, due to 
the unpopularity of ''Queen Christina." Censor- 
ship affects her little if any. 

MARGARET SULLA VAN! A girl who is go- 
ing places. A star overnight. She has an amaz- 
ingly large following. Her first picture for the new 
year is Molnar's "The Good Fairy." There is talk 
that she may switch to M-G-M. 

GRACE MOORE! One can't say too much 
about her possibilities. She looks like a dream, 
sings like a nightingale, and acts with distinction. 
Too, she has given music a new meaning on the 
screen. Put your money on her by all means — 
she's a winner! 

KATHARINE HEPBURN, ANN HARDING, 
HELEN HAYES! Will greatly benefit in 1935 by 
the change in their type of stories, as well as from 
a purely "censorial" viewpoint. 

Miss Hepburn is easily in the lead with "Little 
Women" and "The Little Minister" to her credit. 

Ann Harding will avoid vehicles that glorify un- 
wed mothers, concentrating more on plays like 
"Holiday." Her latest opus is "Enchanted April." 

Helen Hayes will be a truant from Hollywood 
for almost a year. In the interval she has lost much 
ground, but she will rapidly recover this. 



NEW FACES OF 1934 



Gloria Stuart 
Pert Kelton 
Lanny Ross 
Frances Drake 
Claire Trevor 
Grace Bradley 
Ida Lupino 
Buster Crabbe 



Johnny Weissmuller 
John Lodge 
Steffi Duna 
Tala Birell 
Judith Allen 
Bruce Cabot 
Adrienne Ames 



NEW FACES OF 1935 
(Will They Be Stars?) 



Margo 
Henry Hull 
Anne Shirley 
Joe Morrison 
Peter Lorre 
Mady Christians 
Elizabeth Bergner 
Josephine Hutchinson 



Merle Oberon 
Nelson Eddy 
John Beal 
Rosamond Pinchot 
Ruth Gordon 
Queenie Smith 
Constance Collier 



MUSICALS TO COME 

Show Boat, with Irene Dunne 

Go Into Your Dance, with Al Jolson 

Naughty Marietta, with Jeanette MacDonald 

Sweet Adeline, with Irene Dunne 

Mississippi, with Bing Crosby 

All the King's Horses, with Elissa Landi 

Glorianna, with Ann Sothern 

Gold Diggers of 1935 

Maytime 

Sweet Music, with Rudy Vallee 

Folies Bergere, with Maurice Chevalier 

Rhumba, with George Raft 

Roberta, with Ginger Rogers 

A Nighr at the Opera, with the Marx Bros. 

The Night Is Young, with Ramon Novarro 

Rose of the Rancho, with Mary Ellis 

ADVENTURE FILMS TO COME 

Mutiny on the Bounty. Clark Gable, Wallace 
Beery, Robert Montgomery. (Sea.) 

Black Ivory. George Brent, Ricardo Cortez. 
(Pirates.) 

Lafayette Escadrille. (War.) 

Roar China. (Chinese Pirates.) 

Captain Blood. Warren William. (Pirates.) 

West Point of the Air. 

Oil for the Lamps of China. 

Barbary Coast. Miriam Hopkins. (Waterfront.) 



JOAN CRAWFORD. JEAN HARLOW, 
MARLENE DIETRICH, ANNA STEN and 
CONSTANCE BENNETT are problematical. 
Everything depends upon their vehicles. That the 
majority are versatile actresses there is no doubt. 
Crawford's is the most wasted dramatic talent in 
the industry. Harlow has already proved herself 
a delightful comedienne. Dietrich and Constance 
Bennett built their reputations upon highly sexed 
and sophisticated material, while Sten, with but 
two American pictures to her credit, is still, in spite 
of an extravagant publicity campaign, an unknown 
quantity as an audience magnet. Can this million- 
dollars' worth of electric-light names suddenly 
switch from one type of role to another with the 
ease of the changing of a costume? Can they 
work in accordance with the new moral code and 
still keep the fans who made them stars? Risky 
Gold-Bonds. Gamble, if you like. 

KAY FRANCIS, IRENE DUNNE and JEAN- 
ETTE MACDONALD are solidly established. 
Their positions on the stockboard will change rela- 
tively little during the year. Miss MacDonald will 
have some pretty tough competition from Grace 
Moore. 

GLORIA SW ANSON may be compared to a safe, 
reliable stock that took a nose dive which should 
ordinarily have finished her. Under Irving Thal- 
berg's guidance she is destined to pay big dividends 
again, if the ovation accorded her in "Music in the 
Air" is any criterion of the comeback she may make 
in 1935. Prepare an important place on the stock- 
board for her — and buv by all means! 

CLAUDETTE COLBERT and MYRNA LOY 
are becoming increasingly important. Colbert will 
make pictures this year for Paramount, Warners 
and Columbia. Loy, censor's bait two years ago, is 
now the darling of the women's clubs. She is the 
symbol of the new sophistication; smart, real, lady- 
like — sans gestures, poses and hokum. Frank 
Capra's "Broadway Bill" should bring her new 
laurels. She made the most rapid strides of any 
actress in 1934. What a pace she'll have to go in 
1935 to top herself! And she will. 

BING CROSBY! Nuff sed. Outside of Mae 
West, Paramount's biggest money-maker. Closest 
rival — Dick Powell. But Bing needn't lose any 
sleep. 

WILL ROGERS! Brings the family to the 

theater. Has the same universal appeal as the late 

Marie Dressier. Will continue to be one of the 

most popular of stars, who need fear neither age, 

(Please turn to page 70) 



Secure? 
Katharine Hepburn 



Problematical? 
Marlene Dietrich 



Sensational! 
Ginger Rogers 



Slipping? 
Greta Garbo 



Climbing! 
Bette Daz-is 



Risky? 



C. Bennett 



Brilliant! 
Miriam Hopkins 



Lasting? 
Grace iloore 




The New Movie Magazine, February, 1935 



29 




CAROLE LOMBARD 

BEAUTY experts in Hollywood show the way to ac- 
centuate your charm and reveal your personality 
through the art of hair arrangement and make-up. The 
arts and crafts they use to make women lovely by means 
of theatrical make-up have now been worked out and 
deftly applied to the use of everyday cosmetics that any 
girl can buy. 

First decide — with our aid if you need it — the Holly- 



Paranwunt 

wood star best suited to be your guide. Study her face 
and hair arrangement on the screen and in photographic 
reproductions. 

To achieve the new head dress, first give your hair a 
thorough shampoo, cleansing every hair to bring out its 
natural softness and luste/. When partly dried, comb 
the hair lightly back away from parts and waves to 
which it is accustomed, and complete the drying process. 



Typical American girls from R. H. Macy & Co. Inc., give 
amazing proof of the magic of hair dress and make-up 



WHAT star do you most resemble?'' 
' : I resemble a star? Incredible!" 
"Stop and think. Didn't anyone ever 
say you looked like this star or that?" 

"Don't imagine I would fall for such silly 
flattery." 

After such a conversation our art and beauty 
experts go into a huddle, gazing the while through 
lowered lids at this average young American 
woman. Quickly they make note of the basic pro- 
portions of her features, the line of her brow, the 
height of her forehead and the length of her chin 
and the unmeasurable something that we call per- 
sonality. 

"You're a true Lombard type," they say to her. 
"Unmistakable Carole Lombard!" 



Then on with the hair dressers and make-up 
experts. Hair lotions, pins, hair nets, wave sets, 
creams, powders, mascara, eyebrow cosmetics, rouge 
and lip stick — not of the theatrical sort, but just 
the kind that any girl can and does buy anywhere. 
A half hour or more of magic and then — presto 
chango! — the average American girl stands revealed. 
A perfect imitation of Lombard? No. Rather a 
perfect revelation of her own true self, achieved 
through the help of her type sister in Hollywood. 

This new beauty culture does not advise or pre- 
scribe slavish imitation of any star, however 
glamorous. It simply shows the way to accentua- 
tion of personal beauty and revelation of charm 
in the Hollywood way. 

And next comes the girl who was once told — 



though she didn't believe it — that she looked like 
Colbert. Cut the bang a little, Mr. Barber, and do 
the tricks that make hair soft and caressing. Use 
the creams and mascara to reveal the true beauty 
of large dark eyes and, there you are! 

Now the girl with braids worn coronet fashion 
round her head. What if her hair isn't as fair as 
Sten's, and what if the committee doesn't quite 
agree. A half hour with the beauty experts, and 
then — not a second Sten, bound for Hollywood, but 
one more American girl who has learned the art 
of making up and arranging her hair to type — 
armed with that feminine courage that comes from 
a consciousness of charm and magnetism. 

If you would like help in choosing your 
beauty type from Hollywood, turn to page 52. 



30 



The New Movie Magazine, February, 1935 




CLAUDETTE COLBERT 



Paramount 



Then get the barber to do any trimming or cutting needed 
to conform to the new coiffure. Saturate the hair with a 
good setting lotion, using as much as the hair will possibly 
absorb. This is especially important to train the hairs to 
their new position. Following the picture of your star, comb 
and part the hair the way it should go, and with the aid of 
fingers and comb, mold it in the desired waves and curls. 
Set curls and rolls with hair curlers and twist all stray ends 



small wire pins. 



Now for the magic make-up that is to 
bring out hidden charm of face and fea- 
tures the Hollywood way. 

First, the usual preliminaries, perfect 
cleansing with soap and water, cleansing 
cream, astringent. Now, studying the pic- 
ture before you, trim your eyebrows or 
have them shaped for you to give the 
basic foundation for the new eyebrow line. 
Next, foundation cream and powder — 
then, looking in the mirror first at the pic- 
ture before you and then at yourself, apply 
rouge to give the desired effect. Then 
mascara and eye shadow, and eyebrow 
pencil to produce the subtleties of shadows 
needed to give your eyes the new depth 
and contour. And finally the eyebrow pen- 
cil to give the necessary length or width; 
and lipstick painstakingly applied to make 
your lips as lovely as a star's. 



.rl.VA"^ ST EX 



up into round curls and fasten them with 
Don a net and let the hair dry thoroughly. 

The surprise comes when you remove the net and lightly 
comb out the hair to reveal the new coiffure. If plenty of 
setting lotion has been used and the hair has been thoroughly 
dried, it will remain in good form for a week without reset- 
ting. (It should be brushed once a day, patted and combed 
back into shape and covered with a net before retiring.) 

United Artists 





Portrait Photo- 
graphs by 
Frederic Bailey 



Inset photo- 
graphs show typ- 
ical Am erica n 
girls before 
treatment. Same 
girls shown in 
larger photo- 
graphs after new 
hair arrangement 
and make-up. 



The New Movie Magazine, February, 1935 



31 




Clarence Sinclair Bull 



32 



NORMA SHEARER. . . If you're interested in beaches, this is Norma's own private one beside her house at Santa Monica. But, to 
tell the truth, the reason we're really printing the picture is just because it's so lovely. 

The Neiv Movie Magazine, February, 1935 



HIDDEN SKIN TINTS IN THIS POWDER 




IMow you can get just the shade of face powder 
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You need no longer be content with powder that 
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These new shades contain the actual skin tints 
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See Your Skin Transformed 

These hidden tints cannot be seen in the powder any 
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compliment the new sparkling loveliness of your skin. 

These glamorous new shades are blended scientifically 
by Pond's. Read the amazing story of their discovery. 



b "unett e 

Among them is just the shade that will accent your 
best points — make your complexion gloriously vibrant. 

Pond's new Powder clings so closely, it never gives 
you a powdery look — yet it remains on hours and hours. 

And it is so inexpensive! Only 55^ for a glass jar that 
contains as much as many $1 boxes. In gay boxes for 
ioff, aof4, 25^. It's available everywhere. 




How Science Discovered New Powder Shades 

An optical machine, which reads the skin, color-analyzed the 
complexions of over 200 girls. Gorgeous complexions — bad 
complexions — all came under its searching eye. Then it was 
discovered that the clear, pearly blonde skin held a tint of 
bright blue — the brunette had a note of brilliant green. 
These same beautifying tints, hidden in human skin, Pond's 
blends invisibly into their new powder shades. 

But we want you to try it FREE. Just mail this coupon. 
You'll receive, free, three different shades from which 
to select the one most flattering. Discover today what 
this entirely new powder will do for your skin. 

3 shades Free/ 

SEND FOR THEM TODAY 

( This offer expires April I, 193s) 

Pond's Extract Co., Dept. B, 92 Hudson St., New York 

Please send, Free, Two Special Boxes of Pond's new Powder 

and an extra sample . . three different shades in all. 

I prefer 3 different LIGHT shades of powder □ 

I prefer 3 different DARK shades □ 

Name 



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INGREDIENTS 



City_ 



_State_ 



Copyright. 1935, Pond's Extract Company 



ANNOUNCING THE WINNERS WHOSE LETTERS TOLD ABOUT 

FRIENDLY HELPFUL SERVICES OFFERED BY 




tH 



1 



<^>tate <^aUtyeawle 



The eighty- two prizes are announced below. Prize 
winning letters for the grocery store and depart- 
ment store will be announced in subsequent issues 

ltd (f^^ze . . $230.00 

MRS. ANNA M. ROOT . . . . W. PHILADELPHIA, PA. 

<~>cca^tJi (l^tLze . . $100.00 

MRS. DAVID MALONEY . . . . . MURPHYSBORO, ILL. 



Ji 




kitd (l^tLTe . . $50.00 



MRS. G. THOMAS OAKLAND, CALIF. 



souttli tytixe . . $23.00 



MRS. FRANK KLOHS 

MRS. ERNEST OSTERMEIER 

MRS. A. A. PIPER 

MISS MINNIE STEWARD 



El Paso, Texas 

Pipestone, Minn. 

Chicago, 111. 

Germantown, Pa. 



<J'UtL fuze . . $10.00 



KARL G. REHER Philadelphia, Pa. 

MRS. G. SEYMOUR San Bernardino, Calif. 

MARCIA C. SMITH Taylor, Nebraska 

MRS. EMILY SUNDQUIST Los Angeles, Calif. 

H. C. THOMAS Detroit, Mich. 

MRS. ALMA WENDER Cazenovia, Minn. 

zz^>ixtk lU'cize . . $5.00 



BEATRICE BAKER 

MRS. RICHARD H. BOWLING 

MRS. JOSEPH BROWN 

HAZEL M. BUNDY 

MRS. H. CHALLY 

MRS. H. C. CHAPMAN 

HELEN COOL 

MRS. R. FRYER 

MRS. JOHN GRAVES 

MRS. J. B. HANDLEY 

MISS MARY E. HEALY 

MRS. FRED HOGAN 

AVO. HUMPHREY 

MRS. THELMA KIRST 

MRS. E. J. McANDREWS 

MRS. EDWARD McCABE 

MRS. JOHN PAPE 

MISS BETTY PIPER 

MR. R. H. REDFIELD 



New York, N. Y. 

Brookhaven, L. I. 

Johnstown, Penna. 

Kingston, N. Y. 

Morris, 111. 

Granite City, 111. 

New York, N. Y. 

Chicago, 111. 

Staten Island, N. Y. 

Staten Island, N. Y. 

Seattle, Wash. 

Huron, So. Dakota 

Palo Alto, Calif. 

San Francisco, Calif. 

Minneapolis, Minn. 

New York, N. Y. 

Cazenovia, Minn. 

Indianapolis', Ind. 

Philadelphia, Pa. 



RUTH L. BARRE 
MRS. WM. C. BARTH 
MISS EDITH BASSETT 
LORETTA BENZINGER 
MISS RUTH BERMAN 
MARION BREWER 
MISS HAZEL BROOKS 
WILLIAM H. BROWN 
JOHN W. CASTO 
MRS. J. P. CLARK 
MR. F. R. COZZENS 
C. D. CURREN 
MRS. ELSIE H. DIKEMAN 
CARL. A. DONNER 
MRS. DAN DYER 
DR. E. F. FINLEY 
EARL FULLMER 
KATHERINE L. GREENE 
MRS. MARGARET HARMON 
MRS. E. E. HAYES 



Cassadaga, N. Y. 

Bridgeport, Conn. 

Lebanon, Ind. 

Chicago, 111. 

Bronx, N. Y. 

Chicago, 111. 

Waupan, Wise. 

West Haven, Conn. 

Rock Island, 111. 

Jackson, Miss. 

Stockport, Ohio 

Elmira, N. Y. 

Bronx, N. Y. 

Ann Arbor, Mich. 

Los Angeles, Calif. 

Indianapolis, Ind. 

Camino, Calif. 

Philadelphia, Pa. 

Great Falls, Mont. 

Springfield, 111. 



JOHN HIGGINS 
MISS COLETTE HILDBRAND 
GLADYS MARIE HOBART 
MRS. EVA HUMPHRIES 
VIOLETTE IHRKE 
MRS. FRANK ISAACS 
EMILY R. JEDD 
MRS. WM. KRUPP 
ELMO W. LANDERS 
MRS. MARY L. LOTZKAT 
MRS. HOWARD C. LYNCH 
MRS. M. MERICH 
MRS. F. R. MOORE 
ELINOR F. NELSON 
CATHERINE NEWTON 
C. P. PARDEE 
MAE E. REMMERS 
DORIS ROGERS 
WILL SEYMOUR 
ROY ROBERT SMITH 
MRS. C. M. STEVENSON 
MAE STEVENSON 
HELEN STRONG 
CARL P. SPINA 
MAXINE SWAN 
EDDYE McM. TURNER 
MRS. LEILA WARD 
MRS. LEE R. WARNICA 
E. WIETMAN 
HELEN ZURLINDEN 



Flint, Mich. 

Columbus, Ohio 

San Francisco, Calif. 

Noelette, Texas 

Milwaukee, Wise. 

Akron, Ohio 

Cleveland, Ohio 

Cleveland, Ohio 

Atlanta, Ga. 

South Haven, Mich. 

Seattle, Wash. 

San Francisco, Calif. 

Detroit, Mich. 

Muskegon, Ohio 

Minneapolis, Minn. 

Wichita, Kansas 

Redwood City, Calif. 

Chicago, 111. 

Staten Island, N. Y. 

Denver, Colo. 

Menlo Park, Calif. 

Los Angeles, Calif. 

Clermont, N. Y. 

Chicago, 111. 

Brooklyn, N. Y. 

Paris, Texas 

Houtsdale, Penna. 

Kansas City, Mo. 

Lincoln, Nebr. 

Lakewood, Ohio 




DAY BY DAY 



WELL, Merry Christmas . . . er, Happy 
New Year. Or, maybe it's Valentine's 
Day! Anyhow, Old Man NEMO was so 
excited about the snappy new magazine that he 
plumb j or got the Season's Greetings I 

•That's a nice crazy start, but we've got a right 
to be crazy, what with our long-suppressed desire, 
Garbo, going head-over-heels for George Brent. 
No foolin' . . . the Silent Swede hasn't been in such 
a complete dither since John Gilbert was the Big 
Moment, 'way back in the good old "Flesh and 
the Devil" days. Or, do you remember? 

George and Greta have the grandest time in the 
world, frolicking in the sand at George's beach 
house; or week-ending at La Quinta . . . all prop- 
erly chaperoned, of course. 

Ah! well, if it can't be us, we'd rather see Brent 
get the break than any one we know. 



PARAMOUNT officials are sitting around im- 
patiently waiting for the Charles Laughton 
"bean" to sprout! 

When M-G-M borrowed the British "Buster," 
they shaved his head to fit the role of "Macawber" 

in the current "Da- 
vid Copperfield." 
However, before it 
was Laughton's turn 
to go before the 
camera, the Metro 
crowd decided that, 
at $15,000.00 per 
week, it was too ex- 
pensive a proposi- 
tion. So, they 
turned him in to 
Paramount in ex- 
change for W. C. Fields, and now Paramount is 
stuck with "Ruggles of Red Gap" until Charlie 
can grow enough hair to step into the title role! 
Furthermore, Paramount is trying to make 
M-G-M pay for sending back a bald-headed actor! 



DON'T let these nice, quiet girls fool you! 
Ralph Forbes, Charlotte Granville and 
Doris Lloyd (all old penny-pitchers from 'way 
back) thought they'd have some fun teaching 
Jane Baxter how to "pitch for the line." 

But, before the day was over, Jane had won 
all their pennies and was looking for new fields 
to conquer! 



WE mustn't for- 
get Johnny 
W eissmuller' s colos- 
sal response to the 
pleas of autograph 
hounds who insisted 
that he give his fa- 
mous "elephant" 
call for them, on his 
London visit. 






Marlene Dietrich and Fred Perry, in- 
ternationally popular tennis star, get a 
coat of tan at Palm Springs. 




Henry Walthall and Mae Marsh, great 

stars of "The Birth of a Nation," meet 

again in "Bachelor of Arts." 




The latest news of Hollywood — 

gossip — pictures of the stars — 

events — all that's going on 




Bob Montgomery can keep up that 
cheeriness because he and his wife 
sneak off for vacations oh their boat. 



reported by 

NEMO 



Taking a deep breath, the obliging Johnny 
drew himself to his full height and murmured: 
"Peep! . . . Peep!" 

AND Patricia Ellis rises to announce that there 
is positively no engagement between her 
and Fred Keating. So . . . that's that. Or, is it? 

• 

YOU'D die laugh- 
ing to watch Ed- 
mund Lowe and Jack 
Holt strutting around 
the "Depths Below" 
set in their old-fash- 
ioned long under- 
wear! 

It's a diving pic- 
ture and so cold 
under the water that 
there was nothing to 
do but get some 
antique union suits to keep the boys warm. 

Believe it or don't, there wasn't a single pair of 
grandpa's flannels this side of these hyar mount- 
ings! And, after frantically turning a hundred 
department stores upside-down, Jack and Eddie 
were obliged to send to New York for them. 



ROGER PRYOR doesn't know a whole lot 
about navigation, but he's so crazy about 
his brand new sailboat that he figured he could 
learn to run it as he went along. 

On a one-man cruise to Catalina, the other 
day, Roger tacked abruptly into the wind when 
he shouldn't have tacked at all. The boat went 
over, as neatly and thoroughly as Max Baer's 
sparring partners, and Mr. Pryor got wetter 
than a herring. 

Fortunately, there were several rescuers close 
at hand and Roger, with everything drenched 
but his enthusiasm, was hauled to safety. 

And don't think he let that be a lesson to him. 
Because the very next week-end out he went to 
tackle it all over again! 



WALLACE BEERY, aviation fiend that he 
is, has just purchased a brand new plane 
and, when his wife is well enough, he plans to 
put the plane aboard the first Europe-bound 
steamer, tuck* the missus under one arm, Baby 
Carol Ann under the other, and fly all over 
Europe ! 



JACK OAKIE and 
Mary Brian are 
co-owners of a trick 
parrtot, and, after 
days of concen- 
trated effort, they 
have taught the bird 
to crow like a rooster. 
Now, all the hens 
(Please turn to 
page 61) 







The Neio Movie Magazine, February, 1935 



35 




Left: The Harold Lloyd children, 

Peggy, Harold Jr., and Gloria, 

entertain Shirley Temple at a 

gay party. 

Below: At the Stanley Berger- 

man party. Helen Vinson, Carl 

Brisson and Toby Wing make a 

happy threesome. 



Hollywood Entertains 

The social merry-go-round of the month, brought to you 
by GRACE KINGSLEY, New Movie's society reporter 




E 



VER since Eve wrapped herself in fig leaves 
and asked Adam to guess who she was and 
didn't he think she looked cute, folks have 
loved costume parties. Disguising themselves — 
playing they are somebody else. 

Marion Davies disguised even her Santa Monica 
beach house recently, making it over into a section 
of old Tyrol, and everybody who came wore the na- 
tive Tyrolean garb. And a great scrambling for 
books on the subject there must have been, also a 
great rummaging in costume departments. 

The aprons seemed to be the hardest to find. 
Gloria Swanson admitted she had helped to make 
her own, because she wanted a particular, long kind 
that she had seen in a picture; Jean Harlow wore 
a boy's costume, which suited her admirably — be- 
cause she couldn't find exactly the right dress. 

William Powell was Jean's escort. He wore a 
black velvet suit with a little feather in the rakish 
hat. 

Edmund Lowe came alone, and spent a lot of 
time playing ping pong and other games with his 
friends Herbert Marshall, Edgar Selwyn, and 
Charlie Chaplin. 

Herbert Marshall brought Gloria Swanson; Cary 
Grant and Virginia Cherrill, having made up, were 
more devoted than ever to each other; and Gilbert 
Roland was with Constance Bennett a goodly part 
of the evening. 

Pola Negri, as usual, drew a lot of masculine at- 
tention, and was talking sparklingly with Prince 
David Mdivani, Billy Haines, Harry Crocker, and 
others. 

Everybody was especially interested when Pola 
and Billy Haines were spotted talking to each other 
animatedly, as their hectic romance of other days 
was recalled. 



36 



The swimming pool was open, and well 
lighted, and Gary Cooper, Clark Gable, 
Richard Barthelmess and some other of 
the hardier masculine souls exchanged 
their picturesque costumes for bathing 
suits and took a dip. 

Mary Pickford and Harpo Marx dis- 
tinguished themselves and astonished the 
natives by stepping a real Tyrolean folk 
dance. 

THOSE three pals, Loretta Young, 
Sally Blane and Polly Ann Young, 
may always be found in three-somes with 
their beaus. 

So we weren't surprised to find them 
at Rosie Dolly's with Max Baer, Howard 
Hughes and Pat di Cicco. Couldn't find 
out which came with which, except that 
Polly Ann seemed to be with Pat. 

There were some lone arrivals, too — 
Jeanette MacDonald, whose friend Robert 
Ritchie was in New York, and Edmund 
Lowe, who goes everywhere alone. 

Cary Grant and Virginia Cherrill were 
there too. 

And though Jean Harlow came with 
William Powell, she was dispensing her smiles all 
about, at each admirer who made his appearance. 

Another delightful costume affair was given by 
Dick Polomar, assisted by his beautiful young wife, 
who was Miss America a couple of seasons ago. 

Jack LaRue came as a bad, bold Apache, yet he 
went meekly enough into the kitchen and cooked 
the best mess of spaghetti you ever ate; while 
Colin Tapley, not in costume, but dressed in formal 
tails, attended to the beer tap. That is, he did 




An elaborate affair against a Tyrolean background 

welcomed Marion Davies home from Europe. Here 

are Marion, Irving Thalberg and Norma Shearer. 



when he wasn't being so attentive to Marina Schu- 
bert, the new Paramount find, who was dressed as a 
Tyrolean princess. She offered to help him at his 
duties, because he absentmindedly let the tap run 
long after the customers had filled their glasses! 

It was the younger group of players mostly who 
were guests, and they entered entirely into the 
spirit of the party, Mary Carlisle, as a Hungarian 
peasant, and Jose Crespo, Spanish actor, who wore 
the real Morocco sheik's {Please turn to page 58) 

The Neiv Movie Magazine, February, 1935 




Hay Fever 



M 



ANY a hay fever sufferer can point to a 
calendar and foretell almost to the day 
when his misery will begin. Often, he knows how 
long it will last. 

His acute distress is caused by pollen carried in the 
air from a particular kind of tree or grass or weed 
or, in rare instances, a flower. Some people may be 
affected by several types of pollen. Little or no re- 
lief may be secured until the particular types are 
known and proper measures are taken to immunise 
against them. 

It requires patience on the part of the sufferer and 
thoroughness and understanding on the part of his 
doctor to find out, in advance of the dreaded season, 
whether hay fever will be brought on by a tree in 
April or May, a grass in June or July, or a weed 
in August or September. 

One of the methods by which the doctor finds out 
which pollen causes hay fever consists of making a 



^VIATa*. 



?7T m'- ^V 



series of tiny scratches, about an eighth of an inch long, 
which penetrate the outer skin. He may make from 
eight to thirty tests, the number depending upon the 
variety of air 'borne pollens in the patient's locality. 
On each scratch the doctor applies one drop of a 
different pollen solution. If a particular pollen has 
caused past trouble, a slight, itching elevation will 
appear on the skin where the scratch was made. 

Based on the results of these tests, the doctor knows 
just what to do and when to begin to build up the 
immunity of his patient against the individual 
trouble-making pollen or pollens. 

Some stubborn cases do not yield to this immunising 
process, but a majority of hay fever patients have 
been made far more comfortable by it. Many of 
them have been relieved completely. 

The time to begin the battle against 1935 hay fever 
is now! 



Metropolitan Life Insurance Company 



Frederick H. Ecker, President 

The New Movie Magazine, February, 1935 



One Madison Ave., New York, N. Y. 



© i 



935 U. L.I. CO. 



37 




M 



ARIE ANTOINETTE has caused an- 
other Revolution. The unhappy French 
Queen has torn M-G-M asunder and set 
Hollywood's mightiest majesties at war by inno- 
cently inspiring them simultaneously to die on the 
guillotine in her name. Norma Shearer and Marion 
Davies are tossing heads at one another. 

By exercise of skilled diplomacy two Queens may 
exist on one lot, but hardly two Marie Antoinettes. 
When "The Barretts of Wimpole Street" was pur- 
chased by the studio, Miss Davies set her heart 
on it, but it went to Miss Shearer. Next Reine 
Marion set heart and head on "Marie Antoinette," 
only to find herself, on returning from Europe, in 
the shadow of Miss Shearer's guillotine. The air 
was ominous and war clouds lowered, just as they 
did over Europe when King Alexander was assas- 
sinated. But this time something happened. More 
like the assassination of Archduke Ferdinand was 
the effect upon Hollywood, though not with quite 
the violence of the World War. This revolt was 
without bloodshed, due to Miss Davies' innate 
diplomacy and long, aversion to any form of capital 
punishment. She quietly gathered her glittering 
forces about her and rolled off the lot in a high-pow- 
ered tumbril Burbank-bound. On the Warner 
Brothers domain she will set up her guillotine and 
Versailles. On leaving the lot after a long reign she 
issued a proclamation of regret and love to all. 
Equally tactful, Miss Shearer went into temporary 
retirement, and announcement was made that she 
had shelved "Marie Antoinette," presumably tem- 
porarily. 

On the whole this peaceful settlement of what 
might have been an old-style, rip-snorting Holly- 
wood rumpus is a testimony to the new age in which 
we live and to the humane strategy of Hollywood's 
little women. 

Frankly, it was a disappointment to us old 



This is sawed-off shotgun season 
for the ladies of the films. Herb 
Howe wears boxing-gloves as he 
pecks at his typewriter, and 
keeps ready to duck 



war horses who watched the mighty Negri and 
Swanson rage with missiles and gas, back in the 
twenties. Even then Hollywood showed an effemi- 
nizing tendency. Miss Swanson had something of 
the new diplomacy. She worked quietly and with 
aloof scorn, putting cats in the path of cat-loath- 



Drawings by D. B. Holcomb 




"That's what you get for inviting Society!" 
said Marion Davies, when her guests fought. 



ing Pola. But Pola talked. In quite loud voice. 
"In Poland we kill!" was her original expression. 
This was modified, out of respect to the customs 
of this country, to "I will sue!" The fire-breath- 
ing Pola also made a valiant stab at tact. Breath- 
ing heavily from the effort of restraint, she conveyed 
her attitude to the press anent Miss Swanson. "She 
have a certain — what you call? — style. But I am 
artiste. How could I be jealous?" No, it was 
nothing personal, Pola avowed. Simply that she 
had always been first on every lot in Europe and 
she wouldn't abandon principles for any amount 
of our gold. One or the other must go. Miss 
Swanson went. Pola's victory was dubious, though, 
since Miss Swanson proceeded in triumph to a royal 
wage and domicile at United Artists. And soon 
Clara Bow butted into Pola's domain at Paramount 
and Pola went. Unhappy is the head that wears a 
crown. A queen has to be always on her toes. Or, 
better yet, Queen Garbo's momentous observation: 
"One never knows what time will bring, does one?" 
There have been other death-threatening rivalries, 
mostly press-stimulated. Valentino was stirred a 
little by the horde of "successors" following in his 
wake. Lupe Velez, first of the Mexican senoritas 
on the screen, was moved to give inciting imperso- 
nations of her country-woman, Mile. Dolores Del 
Rio. Attempt was made to draw out Miss Garbo 
by heralding her "successors" but she barricaded 
herself in jaw-locking Swedish silence. 

Fashion feuds between "best-dressed ladies of 
the screen" is an old press stunt. When the news- 
paper boys feel for a field day they leap in among 
the little tigresses, quote one about another, and 
soon expensive fur is flying in headlines. 

At Paramount, fear was entertained of a Balkan 
explosion when Mae West swayed with her peculiar 
pugilistic swing in the direction of tailored Dietrich. 
When Miss Dietrich (Please turn to page 73) 



38 



The New Movie Magazine, February, 1935 




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Copyright. 1935. Standard Brands Inc 



The Neiv Movie Magazine, February, 1935 



"SLUGGISHNESS LEFT IN A FEW DAYS' 

Cable, Wis. Margueritte Bro, a writer, says: "Huddling over a 
typewriter isn't exactly conducive to health. I lost appetite, 
felt drowsy and miserable. I tried laxatives — had to discard 
them. Finally I tried Flelschmann's XR Yeast. / have only 
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COM 

XR YEAST...#£& quicker 



39 




Sitting on TOP of the World 

A NEW YORKER, BORN AND BRED, GEORGE BRINGS A BIT OF THE 
BIG TOWN WITH HIM— THE ONLY PENTHOUSE IN HOLLYWOOD 



A panorama of the whole city of Los Angeles spreads 

out below the patio roof-garden. In the daytime the 

view extends to the blue blur that is the Pacific. 



The room of Mack Gray, 
George's secretary, is done in 
brown and olive-green, with 
bright chintz window drapes. 




T 


kr— '-* 


£3 




...... tr 
















-• ,^ 


-■> 


^-■M 




■ 


. | » 


r 


K * 


- | 



The living-room has walls of soft gray and is carpeted 
in dull green. The davenport and easy-chairs are up- 
holstered alike in green brocade and broadcloth. Bright 
chintz curtains are at the windows adding an attractive 
•contrast to the rest of the furnishings. 

Left: George may not do his own cooking, but he be- 
lieves in cheerful kitchens even for bachelors. Featuring 
glazed tile, the kitchen is in yellow and black. A tiny, 
modernistic bar opens off the dining-room. 



By 
MAUDE CHEATHAM 



G 



40 



EORGE RAFT is the only 
movie star in all Hollywood 
living in a sky-high residence. 
He has just leased a swanky penthouse 
on the top floor of the beautiful El 
Royal, facing the Wilshire Country 
Club. 

It's the first real home George has 
had since he was a child but it is a 
far cry from the humble abode on 
Forty-first Street, near Tenth Avenue, 
in New York City, where he was born. 
During the intervening years he has 
parked in a variety of hotels. He's 
sampled the entire route from the 
cheapest dumps on side streets to the 
world's most palatial. Perhaps that's 
why he is so enthusiastic over his lux- 
urious penthouse. 

We had just come over from the 

Paramount Studio where he finished a 

tense scene in his latest film. We 

stepped through his reception hall, 

then into the living-room flooded with the bright 

warm afternoon sun. 

"Home!" said George, simply, all unconscious 
he was unleashing emotions long dormant. 

"I'm getting a great kick out of it," he continued. 
"I thought quiet would get on my nerves. You see, 
I've been used to the bright lights, crowds, some- 
thing doing. But this is changing me. Maybe," 
he grinned, "I'll yet learn to sit around in carpet 
slippers, listen to the radio and go to bed at nine. 
It's funny what environment can do to you. But 
I still hate being alone so Mack lives here with me." 
No story on George Raft would be complete 
without Mack — Mack Gray, who managed George's 
boxing exhibitions and ever since has been his best 
pal, as well as trainer and "bodyguard." Where 
you see George, you see Mack, at the studio or 
socially. Now, Mack is appearing in George's film 
so perhaps he's off on a successful movie career of 
his own. 

George's living-room is furnished in soft greens 
and mulberry and he has given it a masculine 
touch that is very charming. 

Off the living-room is a large patio, something 
like twenty-eight by forty feet. It's a spacious 
sky-top garden with a Spanish fountain flashing 
its spray in the afternoon sun, and palms, flower- 
ing plants, canopied swings and winged tables make 
it the most alluring spot in which to read or loaf. 
"I used to like to go to the night clubs and sit 
there until closing time watching the crowds and 
enjoying the show. But now I stay at home for I 
have my own show— the best in town," and George 
nodded toward the sweeping panoramic view of 
Hollywood, Beverly Hills and the hazy blue moun- 
tains forming a curtain along the north. It almost 
seemed as if we could see the ocean in the distance. 
"At night," he continued, "it is a wonderful sight. 
Makes one think of a huge carnival lighted up for 
the evening performance. 

"I'm scheduled to make four pictures in a row 
which means I won't have much time for play so 
I'll enjoy the amusements I can gather together 
here at home. Social affairs, especially if they are 
formal, don't attract me (Please turn to page 59) 

The New Movie Magazine, February, 1935 



e^z /eaam^^mer/ca//2)^/ma^/(^/st says-. 

ineir oltin is years younger than tneir Age" 





MRS. PAUL REVERE III 

of Boston and Coliasset, Massachusetts 

• "Not a hint of sallowness. Skin remarkably supple — firm. Has the appear- 
ance of being a full ten years younger than her age" — Dermatologist's report. 

• Mrs. Paul Revere hi, speaking of Pond's Cold Cream, says: "It even 
smooths away little lines around my eyes and mouth — keeps my skin soft." 



§A 



ras 



"W 



MRS. ALEXANDER COCHRANE FORBES 
Crandniece of MRS. JAMES ROOSEVELT 

• "No blemishes. No lines. A fine texture. Her skin has the 
fresh radiance of the early teens" — Dermatologist's report. 

• Mrs. Forbes, grandniece of Mrs. James Roosevelt, says: 
" Pond's Cold Cream frees my skin of blackheads, coarse pores." 



You, too, can keep 
your skin flawless 
. . .Young 

BEAUTIFUL skin depends very little upon your age. 
Haven't you seen women of 40 with skin as fresh 
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Skin youth . . . skin beauty. . . is determined by con- 
ditions within the skin itself, dermatologists say. 

An active circulation — vigorously functioning oil 
glands — firm, full tissue — toned muscles . . . these make 
your skin look young, though your actual age may be 
sixteen or sixty. 

These youthful conditions are often subject to the 
care you give your skin. Dermatologists' examina- 
tions prove this astounding fact — that women who 

The New Movie Meclizine, February, 1935 



use Pond's Cold Cream really keep their skin years 
younger than their age. 

There is a scientific reason for this amazing power 
of Pond's Cold Cream to keep skin free from blemishes 
. . . enchantingly fresh and young. 

This luxurious cream is rich in specially processed 
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Never let a night pass without cleansing your skin 
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Always pat it in every morning — before you make up 
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As you use this oil-rich cream, you'll see your skin 
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Corrects skin faults. Prepares for powder and make-up. 

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.Copyright, 1935, fund's Extract Company 



41 



YOU TELL US 

This department is the People's Academy. The people whose names appear here 
attend the movies. Their letters serve as a guide to the type of entertainment 
that they like or dislike. These opinions are their own and do not represent 

NEW MOVIE'S point of view. 



NEW MOVIE MAGAZINE pays one dollar 
for every interesting and constructive letter 
published. Address communications to A- 
Dollar-for-Your-Thoughts, NEW MOVIE 
MAGAZINE, 55 Fifth Ave., New York, N. Y. 



Change Mae? — Hm-m-m! Let's change 

Mae West! 

Why not have a different Mae West? Change 
her from the Nineteenth Century to 1934. Let's 
have no more of the "It" type of girl that men 
can't resist falling for. 

I'm for changing Mae. — Mrs. Clyde Stinson, 4 
Franklin Avenue, Houlton, Maine. 

But how many would like that! 

Norma's Perfection I have just seen that 

wonderful picture, 
"The Barretts of Wimpole Street," and my vocabu- 
lary fails me in telling what a truly extraordinary 
production it was. 

Norma Shearer, through all her glittering suc- 
cesses, has never approached the perfection of her 
role as Elizabeth Barrett. She was the living, 
breathing heroine of long ago. It will be a long, long 
time before the poignant memory of that exquisite 
scene, where she crept to the window with her last 
strength to see her lover depart, will be erased 
from my memory, if ever. 

I'll say it again: "When better pictures are 
made, Norma Shearer will make them." — Mrs. Joe 
Miller, 620 North Graham Street, Charlotte, North 
Carolina. 

We hope Norma reads this grand tribute, 
Mrs. Miller. 

Largeness of Mind In my estimation Ann 

Harding as an actress 
has no peer. The fates have been good to this fair, 
lovely creature, investing her with that creative 
something which deals with the largeness of the 
mind. When you view her pictures you do not 
think of her as an actress, but as the character she 
is portraying. She is always vitally that, and al- 
ways you love her and think as she thinks. 

There is nothing suggestive about Ann Harding. 
She has an elegance of manner which removes from 
her portrayals all trace of crassness. An impressive 
air marks every movement that she makes, and her 
beautifully modulated voice lingers in the ears 
longer than is usual. 




Ann Harding is indeed a star of the first magni- 
tude, and has won for herself a membership in the 
higher races. — Mrs. William L. Stanaway, 124 East 
Case Street, Negaunee, Michigan. 

We have a story on Ann ready for print, 
Mrs. Stanaway, in which she speaks of these 
ideals as the very ones for which she is 
striving. 



One Reader 
Answers Another 



To you, my dear Mrs. 
Vito: They tell me that 
asphyxiation is a most 
annoying, not to say painful, process. You 
wouldn't wish that on a dog, let alone on such a 
superb star as W. C. Fields. Of course, I am will- 
ing to admit that you, my dear Mrs. Vito, are far 
superior to the late (Please turn to page 68) 




"Jean Parker's fine work 
proves she is no flash in the 
pan." "Ann Harding has that 
creative something which 
deals with the largeness of 
the mind." "Norma Shearer 
has never before approached 
the perfection of 'The Barretts 
of Wimpole Street. 1 " So say 
our readers. And: "Let's 
change Mae West. Change 
her from the I890's to 1934." 




"The women stars take excellent care of their persons, but the men get fat," says a reader. 



A NEW MOVIE MAGAZINE FAN WILL PRESENT THESE AWARDS 



The People's Academy of Motion Pictures (sponsored by THE NEW MOVIE 
MAGAZINE) will present twelve gold medals for what the readers of this maga- 
zine consider to be the twelve outstanding achievements of the year 1934 in the 
films. Letters from our readers, carefully tabulated, will be the sole guides to 



these awards. It is your vote that will count in the final decision! 

Address letters to The People's Academy or Dollar Thoughts department of 
this magazine, 55 Fifth Avenue, New York, N. Y. 

Write us what you think. Medals will be given for the following: 



1. BEST ALL-AROUND FEATURE PICTURE 



2. 


BEST PERFORMANCE (ACTRESS) 


3. 


BEST PERFORMANCE (ACTOR) 


4. 


BEST MUSICAL PICTURE 



5. BEST HUMAN INTEREST PICTURE 



6. BEST MYSTERY PICTURE 



9. BEST SHORT REEL PICTURE 



7. BEST ROMANCE 



8. BEST COMEDY 



10. 


BEST NEWSREEL PICTURE 


11. 


BEST DIRECTION 


12. 


BEST STORY 



When all these votes are counted at the end of the year, the winners will be named. 
Then the fan whose vote most closely tallies with the final compilation will be given 
a trip to New York or Hollywood to present the awards. The stars and 
producers who win the medals will be there in person to receive them, 

Name 



wherever production schedules permit. All expenses to and from Hollywood 
or New York and entertainment, hotel accommodations, etc., will be borne 
by THE NEW MOVIE MAGAZINE. Be sure to cast your vote very carefully 
and YOU MAY WIN THIS THRILLING TRIP. 

Address 



42 



The New Movie Magazine, February, 1935 




HOW TO WIN 

PRIZES SHOWN HERE 
Honeit Judge* — See Paragraph 4 

Do These Simple Easy Things 

Easy, different, new kind of thrilling contest! Noth- 
ing to buy, nothing to sell to win any of 3 big 
prizes. Read how easy: 

1. Count number of DOTS on shoe pictured here. 
Write number on Blank. (See IMPORTANT 
CLUE above the coupon.) 

2. Answer Question: "What Is So-Lo?" Write 
answer in 25 words or less on separate piece of 
paper. Any answer about the economy feature, 
convenience, etc., of So-Lo, in your own words, 
may win — like: "World's lowest priced shoe re- 
pair," or "It's economical — just spread on like 
butter." (Note: Do not send the above answers — 
they are only examples.)^ Bad spelling won't 
count against you. Write in pencil, if you wish. 

3. Prizes will be awarded primarily on the basis 
of the nearest correct number of dots; second- 
arily on the best answers (for advertising pur- 
poses) to the question, "What Is So-Lo." In 
event of ties for any prize, identical prizes will 
be awarded to tying contestants. 

4. Entries will be judged by impartial committee: 
Miss Mary Marshall, Home Economics Editor, 
Tower Magazines; Miss Marjorie Deen, Home 
Ecoriomi-s Editor, Modern Magazines: E. H. 
Brown, President, E. H. Brown Advertising 
Agency, Chicago. Judges' decisions will be final. 

5. All entries must be postmarked before midnight, 
February 28, 1935. Prize winners will be noti- 
fied shortly after close of contest. 

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NAME 



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.(T) 



The New Movie Magazine, February, 1935 



43 




Why I'd Hate to 
be a Movie Star 



A tear-jerking, heart-throbbing wail, from that em- 
bittered youth known as— JACK JAMISON 



D R A W I V G S BY HENRI \V E I N E It 



"Autograph hunters would besiege me. Most of 

them would think I was Boris Karloff." Why is 

an autograph fiend, anyhow? 



I HAVE lived in Hollywood for fifteen years, off 
and on. Mostly on. On ten cents a week! 
I have lived in Hollywood for fifteen years, 
for which I am going to have to answer some day 
to my Maker, and it has taught me one thing. 

I should hate to be a star. 

I should hate it from start to finish. I think I 
might even hate the start worse than the finish. I 
should hate to wake up some bright morning (it 
would probably be raining) and see in the news- 
papers, "Street-sweeper becomes star! Jack Jami- 
son, poor but honest young street-sweeper, zooms 
overnight to fame and a contract with Awful Pic- 
tures Corporation. Mr. Jamison, Cinderella Boy 
of 1935, is a gay, carefree lad with teeth like pearls 
and eyes of cornflower blue." 

The story would go on: "While pushing his little 
wagon along the curb late yesterday afternoon, 
Jamison was noticed by a scout for Awful Pictures, 
Mr. Herman Doopelknappel, who was instantly 
struck by his resemblance to Greta Garbo, Marlene 
Dietrich, Anna Sten and the scout's own grand- 
mother, Mrs. Sadie Doopelknappel. Mr. Doopel- 
knappel has been struck more than once, and de- 
served it. A contract followed. 

I should not like to read: "Mr. Jamison, inter- 
viewed at his suite at the Waldorf-Astoria this 
morning while toying with a 
dainty breakfast of sauerkraut 
and pheasant on toast, smiled a 
boyish smile. T am simply 
thrilled to tears!' he cried. Our 
Jackie is still the same, un- 
spoiled boy he was yesterday, 
without the least sign of high 
hat. 'How,' he asks, 'could you 
fit a high hat on my low brow?' " 

Yes, I should hate all that. I 
shouldn't like it a bit. It would 
take away all my appetite for my 
dainty breakfast in my suite at 
the Waldorf-Astoria. I should be 
inclined to yell "Bunk." These 
discoveries, that you're always How 




reading about in the papers! 



to act in three 
oveyoulloveyoullov — , 



Nine-tenths of them never get beyond 
playing a bit in one picture, if they even 
get that far! 

But supposing I did click, and become 
a star. I shouldn't like any of the things 
that go with it. I shouldn't like the lack 
of privacy. My mother didn't raise me to 
be a goldfish. If I wanted to be a gold- 
fish I would be swimming around in a 
globe somewhere right now instead of sit- 
ting here at a typewriter telling you all 
this and ruining your illusions. 

Oh, I know — the public give you your 
stardom and your nice salary, they tell 
you, so you owe it to the public to let them 
know how many hours you sleep, how you 
brush your teeth, what you eat, how many 
times you've been married, just when you 
plan to get your next divorce, everything. 
I don't say a star oughtn't to do it, I 
just say / shouldn't like it. If I happen to 
have a weakness for underwear with pink and green 
stripes, I don't want to have a photographer take a 
picture of me in it, sitting on the rail of a liner wav- 
ing my hand at the Statue of Liberty. 

I don't want to have to stop doing things for 
fear of publicity, either. Suppose I am a star mar- 
ried to another star, and she eats crackers in bed 
and forgets to put the cap back 
on the toothpaste. Ordinarily, 
if I had a fiend like that for a 
wife, I would beat her with a 
baseball bat, or maybe lock her 
down in the cellar with the rats 
until she went crazy and 
strangled herself with her own 
garter-belt. (The Jamisons are 
just a regular bunch of Laugh- 
tons and Karloff s.) 

But could I do it if she and I 
were both stars? No, I couldn't! 
I should have to pose for photo- 
graphs with her, rubbing noses 
and calling her Boojums. Every 
newspaper in the country would 
print stories telling how we 
adored each other and called 
each other Boojums, when really we loathed the 
sight of each other. That would 
make me very disconsolate. 

And, speaking of marriage, 
supposing I was one of those 
quaint old-fashioned people who 
try to stay married, in Holly- 
wood ! 

Suppose I earned seven hun- 
dred dollars a week (ha, ha) and 
my wife earned (a very loud ha, 
ha) seven thousand. Bang — 
divorce! 

Suppose she made the seven 
hundred and I made the seven 
thousand. Then she'd divorce 
me, for interfering with her 
career. 

Suppose we both made the 




Jamison, the Boy Wonder, en- 
joys a light breakfast. 



essons: 



same salary, but the producers forgot me for a year, 
and she made a lot of pictures. Then they'd say 
I was through, and she'd divorce me for that. 

Every time one of us went to the studio and the 
other stayed at home to tend little Hobart, the 
baby, all the newspapers would print extras saying 
we had separated. 

And then, of course, every new leading woman I 
had would make goo-goo eyes at me. Mostly it 
would be because I was so devilishly handsome, of 
course, with my marcelled hair and my luscious 
cupid's-bow lips. Oh, Jamison! Yoo-hoo! But 
part of it would be because she wanted to use me 
for a stepping-stone to stardom for herself. And 
then my wife would hear her call me You Great 
Big Babykins one day on the set — and she'd di- 
vorce me for that! 

Trying to stay married in Hollywood is like turn- 
ing a ten-year-old boy loose in a candy store and 
telling him sugar will give him worms. After a 
while he just doesn't care. 

I shouldn't like to be bossed by a studio, either. 

Five-year contracts, they call them. Seven-year 

contracts. Ninety-nine year leases. Oh, is that so? 

Way down at the bottom of page 68, in small 

type, is a cute little clause which says you can be 

fired at the end of any six-month term. When 

you're a star you can look ahead and be sure of 

your corn-bread and drippings for 

just six months, and that's all! 

Other clauses say you can be 
fired if you get one pound over- 
weight, if you grow a beard, if 
you wear plush hats, if you ad- 
mit in public that your Uncle 
Louie is a dope, if you get into 
street fights with policemen. 
Maybe I like plush hats! Maybe 
I even like to fight with police- 
men, if they're not too big! 
Why, I know some contracts — 
and I'm not kidding — that tell 
a star how much he has to pay 
for his automobile and how many 
suits a year he must order from 
his tailor. To say nothing of the 
rent he must pay for a swank 
apartment to keep up his (and the studio's) front! 
If the only good thing you can say for being a 
star is the big salary you get — what about your big 
salary if your contract, plus your social obligations, 
insists that you spend nine-tenths of it before you 
get it? 

More than one star works like a dog for five 
years at a "big" salary and ends up with nothing 
to show for it but a hundred suits of clothes, with 
shiny pants. Or a set of false teeth. 

The stars themselves tell you five years is the 
longest time they can hope to stay at the top in 
pictures. Well — not for Papa! I don't want any 
job where I'm dead by the time I'm thirty and have 
to walk around for another thirty or forty years 
in the same old body. I don't want anybody to 
call me a has-been when I've hardly gotten my 
diploma from grammar school. 

I shouldn't mind (Please turn to page 67) 



44 



The New Movie Magazine, February, 193.5 



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IN THIS PICTURE 




LADY, you're lovely! 

Radiant, fresh, and in the bloom of 
young womanhood. 

And behind that young and lovely face 
is a mind full of an old wisdom . . . old as 
womankind itself. . . and it decrees "keep 
lovely." 

So your dressing table is laden with fine 
creams and lotions and cosmetics fragrant 
as a garden in June. And every other aid 
devised to make lovely woman lovelier 
still . . . and to keep her that way! 

Among these aids . . . and you're very 
wise ... is a certain little blue box. 

It won't be on your dressing table, but 
discreetly placed in your medicine chest. 
Its name is Ex-Lax. Its purpose ... to com- 
bat that ancient enemy to loveliness and 
health . . . constipation ... to relieve it 
gently, pleasantly, painlessly. 

You see, while Ex-Lax is an ideal laxa- 
tive for anyone of any age or either sex, it 
is especially good for women. You should 
never shock your delicate feminine system 
with harsh laxatives. They cause pain, 
upset you, leave you weak. Ex-Lax is 
gentle in action. Yet it is as thorough as 

any laxative you could take. And this 

is so important! . . . Ex-Lax won't form 
a habit. You don't have to keep on in- 
creasing the dose to get results. And it's 
so charmingly easy to take — for it tastes 
just like delicious chocolate. 

And That 
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These are the cold facts about Ex-Lax. But 
there is more than that. It's the ideal com- 
bination of all these qualities — combined 
in the exclusive Ex-Lax way — that gives 
Ex-Lax a "certain something"— a certain 
satisfaction— that puts Ex-Lax in a class by 
itself. Our telling you won't prove that. 
You must try it yourself to know what 
we mean! 

In 10c and 25c boxes— at any drug store. 
Or use the coupon below for free sample. 

When Nature forgets — 
remember 

EX- LAX 

THE CHOCOLATED LAXATIVE 



MAIL THIS COUPON— TODAY! 

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Times-Plaza Station, Brooklyn, N. Y. 
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Name 




Wide World 

Charlotte Henry's option was not taken up. Has she a chance? 

JUNIOR 
HOLLYWOOD 



PICTURE audiences can prepare 
themselves for many new faces 
among the younger players this 
coming season. Many of the major 
studios have four or five young people 
of whom they expect big things — and 
from what I can see, will probably ful- 
fill their hopes. Mary Jordan, younger 
sister of that well-known star, Dorothy 
Jordan, is one young lady you'll be 
hearing about soon. Mary has been 
awarded no roles, yet she does seem to 
have what most self-made stars of to- 
day possess — a definite determination. 
Though the sister of Dorothy Jordan, 
and sister-in-law of Merian C. Cooper, 
RKO executive, Mary insists on going 
to the various studios herself and doing 
"bit" work. She has just completed 
atmosphere work in "Grand Old Girl," 
the new May Robson picture, and 
because the studio sent out so much 
publicity on the fact that Dorothy 
Jordan's sister was in the picture (some 
papers even announced she had the 
second lead), Mary plans to change 
her name to avoid that happening in 
the future. It is for that reason, plus 
the fact that her stage work proves her 
ability that I feel you will be hearing 
from Mary Jordan soon. 



Producers — Here's an idea. How 
about an all-star musical picture fea- 
turing Hollywood's young starlets? 
Warner Brothers, after months of 
pleading by letter, wire, telephone and 
in person, on the part of Patricia Ellis 
to have them hear her sing, finally broke 
down the other day and tuned in on a 
local radio program featuring Pat as 
guest of honor. To the boss' astonish- 
ment, they discovered what we've all 
known for a year: that Pat has one of 
the loveliest "blues" voices in Holly- 
wood. 



To the other studios, let me suggest 
that Jean Parker, Richard Cromwell, 
Trent Durkin, Charlotte Henry, Joan 
Marsh and Ben Alexander have excellent 
singing voices. Tom Brown, Howard Wil- 
son, Johnny Downs, Jacqueline Wells, 
and Richard Brodus are swell tap danc- 
ers, Anita Louise is a top-notcher on the 
harp (ask her neighbors if you don't 
believe me), Dick Winslow plays eleven 
musical instruments, and all this going 
to waste while studios sit back and let 
their one singing and dancing star do 
the work for every production. Most of 
these players mentioned are not under 
contract to a studio, and could undoubt- 
edly be corralled for what might be 
the most novel musical production of 
the year. 

The Frank Albertsons seem to be 
falling for each other all over again. 




Mary Jordan, shown with John 

Beal, refuses to succeed on sister 

Dorothy's name. 

Last Tuesday, Mrs. Albertson (Vir- 
ginia Shelly) fell down a full flight of 
steps — and two hours later, Frank, the 
perfect husband, followed in his wife 
footsteps — or missteps. Two days later 



Hollywood's younger set 
may be the stars of the fu- 
ture. Here's what they're 
doing this month 

By HENRY WILLSON 




Sue Carol, Howard Wilson, and 
NEW MOVIE. Read what the 
author says about putting How- 
ard and others in musicals. 



Virginia sprained her left ankle; an hour 
and a half after Frank had sprained his 
right ankle on the "Bachelor of Arts" 
set over at the studio. Never a dull 
moment. 

Charlotte Henry becomes the Peter 
Pan of the film industry. Charlotte 
who gained fame as Alice in "Alice in 
Wonderland," has just completed 
another fairy tale role in "Babes in 
Toyland." This girl is different from 
most of Hollywood's feminine members 
of the younger set. Instead of striving, 
at the age of fifteen or sixteen, to be the 
sophisticated ingenue of the screen. 
Charlotte (who is older than many of 
our ingenue sophisticates) has a yen to 
remain the Alice age for many years to 
come. And Charlotte has very good 
reasons. First, she doesn't feel or look 
any older than that age, and secondly, 
she has complete monopoly on that type 
of role — and her ambition is to do 
them all. 

Jean Rouverol, young Pasadena girl, 
signed by Paramount for the leading 
role in "Eight Girls in a Boat," and 
later forced by her illness to give up the 
part, has now been given the romantic 
lead opposite Julian Madison in "It's 
a Gift" — W. C. Fields' last picture. 



A blood-curdling scream, followed by 
a wild shout and a loud crash, caused a 
near panic recently on an RKO set dur- 
ing the filming of a quiet scene. 

Investigation revealed that 14-year 
old Jimmie Butler had curled up in two 
chairs, off-stage, to take a nap. Evi- 
dently the uncomfortable position made 
him dream. At any rate Jimmie 
screamed suddenly and came up fighting 
the chairs which had formed his bed. 
Everyone had a good laugh, but was 
Jimmie 's face red! 



46 



The New Movie Magazine, February, 1935 



Ralph Bellamy Tells on 
Fred March 



{Continued from page 23) 



speed is like, and the squeals of anguish 
emanating from the back seat on such 
occasions must startle the pedestrians 
out of our way, for we bear a charmed 
set of lives on those rides. 

Can you imagine Freddie March 
playing the role of father in real life? 
I couldn't either — at first. 

When Florence first broached the 
idea of adopting a baby, Freddie 
snorted and scoffed. He gave side-split- 
ting imitations of himself walking the 
floor with a baby, and presented pro- 
found arguments to prove the utter 
ridiculousness of the whole scheme. 
Adopt a baby! Absolutely not! 

So they compromised and adopted a 
baby. 

The first thing we knew, Freddie had 
gone completely berserk over that 
child. He prances and romps with her 
until little Penelope March gurgles 
with sheer joy. The Laguna Beach 
home — always their favorite retreat — 
was originally a rather small affair. But 
now look at it! Proud Papa March, 
having taken up a career as a father, 
could be content with no half-way 
measures. 

There had to be a nursery. It is 
almost as big as a Hollywood drawing 
room. Then quarters for the nurse, 
and a special kitchen. He even had a 
dumbwaiter built from the main kitchen 
to the nursery, so that if her majesty 
Queen Penelope should desire a mid- 
night snack from the icebox, the nurse 
had only to press a button. 

He fairly haunts the nursery, and 

prowls about to see that all is shipshape 

while Penelope takes her beauty rest. 

The other day he proudly surveyed 

the big nursery, and remarked: 

"With so much room, don't you think 
we ought to adopt a couple more 
babies?" 

Florence, being a most dutiful wife, 
smiled and yielded not to the tempta- 
tion to say — "see, I told you so!" 
Freddie believes in doing a thing thor- 
oughly, once begun! 

'TpHE Laguna home is an ideal retreat 
*■ for them. It stands on a high cliff 
some three or four miles south of the 
town. Back of the house is a veritable 
wilderness of hills and canyons, and 
our favorite diversion is to go hiking 
there. One day we four set out to 
explore strange territories. 

Freddie and I had climbed through 
a fence and were striding along some 
distance ahead of the girls, when we 
looked up to behold ten big, belliger- 
ent bulls lined up in our path. Fred- 
die and I came to an abrupt halt. Then 
Freddie asked, with a lift of his brows: 

"Do you, ah, think they like people?" 

One of the bulls stepped toward us. 

"They do not like people," Freddie 
observed quickly. We marched back 
to the girls, who silently joined the 
solemn procession back to the fence, 
through it, and then, from a safe dis- 
tance, we looked back. The bulls had 
not moved. 

No bulls frequent the beach at La- 
guna, however — unless we count some 
of Freddie's verbal ones. He and Flor- 
ence take the baby down the steps and 
spend hours on the sand. But lying 
still is not for Freddie — he brings along 
a medicine ball and finds someone to 
play catch. 

His house is full of games of all sorts, 
designed to entertain those who abhor 
the simple delights of sitting and thumb 



twiddling. No matter what the game, 
Freddie usually can win it. 

Freddie is a born entertainer and 
host. The March's dinners, usually for 
six or eight, are social highspots. 

Freddie has very few dislikes — aside 
from bulls and egotists. He tours 
through life in high gear, enjoying every 
minute of the ride. But he has one 
very definite dislike. A most definite 
one — toward physical labor. He will 
expend a prodigious amount of energy 
to avoid downright work. 

I discovered this secret grudge for 
labor one time when I proposed that 
we make a badminton court. By level- 
ing a slope near the beach house we 
would have a splendid place for the 
game of shuttlecock, but Freddie eyed 
the spot with disfavor. We searched 
diligently for two days and finally 
came back to the original site. 

"All we have to do is shovel away 
that dirt," I pointed out. "Come on, 
here's a shovel. I'll use the pick." 

Freddie made several passes with the 
shovel, then recalled an urgent errand 
in town. After that he remembered 
that he must call the studio. I made 
up my mind to see the thing through, 
and it became a silent, bitter struggle 
between two determined souls — I to 
make Freddie work, he to get out of it. 
Finally he capitulated, and when he 
made up his mind to it the court was 
finished in short order. 

L_T E has a splendid physique and de- 
•*■ ■*• spite the nervous restlessness of his 
make-up, is robust and healthy. 

To a large measure the credit be- 
longs to Florence. No late hours when 
a picture is in production; good food 
thoughtfully selected for dietetic values; 
cheerful, happy environment at home. 

Sometimes Florence may become 
over-enthusiastic in diet regulations, as 
I have cause to know. There was one 
dietary siege when we must use celery 
salt and no pepper, eat gluten bread, 
and use saccharine instead of sugar in 
our Sanka coffee. As an added touch 
we must drink flax seed tea before re- 
tiring. I strongly suspect that Freddie 
was as relieved as I was when this 
spell passed. But it keeps him healthy. 

He is a most tractable husband and 
dutifully eats what is good for him. 
After regarding my own shortcomings 
and those of others, I would nominate 
him a really remarkable husband. 

Freddie is very devoted to his family, 
which consists of his father, two 
brothers and a married sister. They 
correspond regularly and visit back and 
forth. He takes his fraternal affilia- 
tions with the most serious regard, and 
is proud of his alma mater, the Uni- 
versity of Wisconsin. 

The success he enjoys in pictures 
was won by years of hard work, and 
though he may use all that clever wit 
and ingenuity to avoid labor, when it 
comes to picture business he does not 
spare himself. It is odd to remember 
that he had to be coerced into leaving 
a bank teller's job to start his theatri- 
cal career, for, more than any man I 
know, he loves the drama. 

I have, I hope, given you some 
inkling of the splendid fellow that is 
Freddie March. It is difficult to catch 
that engaging personality with words. 
Perhaps I could express it all quite 
simply, in just one short sentence. 

No one could ask for a finer friend 
than Freddie March, 



yUte tatj&'&fa!- 




. . and £&%& HVivJreHaded £k&m 
otcToit toy Amcde 




"My sister was the one who opened my 
eyes . . .'Bess, you're a hard worker," she 
said, 'but these clothes of yours are such 
tattle-tales. That grayish look tells everyone 
who comes to the house that they aren't 
really clean!'. . . I was furious, but I took 
her advice. I stopped buying 'trick soaps' 
and gave Fels-Naptha Soap a try." 




"And what a lucky day! It takes a second to 
chip Fels-Naptha into the water in my wash- 
ing machine. Then I whirr it a bit — and it 
piles up with grand creamy suds. I never 
dreamed golden soap is so much richer. And 
Fels-Naptha is full of clean-smelling naptha! 
Of course, dirt hasn't a chance. Even grimy, 
greasy dirt floats right out." 

"Everybody says nice things about my washes 
now — no more tattle-tale gray in my house. 
John says that red look is gone out of my 
hands, too. There's soothing glycerine in 
Fels-Naptha, you see. In fact, Fels-Naptha is 
so gentle to everything that I use it for all my 
silk undies and dainty in-the-basin washes." 
. . . Fels & Co., Phila., Pa. © 1935, feus * co. 



» 



Banish 



The New Movie Magazine, February, 1935 



"Tattle-Tale Gray" 
with 

FELS-NAPTHA SOAP 

47 



162 HANDS TALK 

IN 7-DAY 
MANICURE TEST 



Test proves Chic Nail Polish 

equal to "salon" polishes 

costing 75c or more 





This test was made with Chic, costing only 
10c, on one hand and an expensive "salon" 
polish on the other. The polishes were sup- 
plied in plain unlabeled bottles, simply marked 
"A" and "B." The women testing them did 
not know which was which. 



"A" — expensive 
"salon" polish 

"B"— Chic 
Nail Polish 



After 7 days' wear the results show — 

81% find Chic equal to costly salon polishes 
or better ... and two out of three of them 
say Chic is actually better and give definite 
reasons for saying so ! 

This test proved to them that Chic Nail Polish 
applied evenly and did not crack or peel . . . 
that Chic retained its color . . . that its luster 
was of lasting quality. 

You can make this simple test yourself and 
discover a really fine polish for only 10c. 



5 CHIC SHADES 

CLEAR 

PINK 

CORAL 

RUBY 

DEEP 

•ALSO. 
ChicCreme Polish 
Chic Cuticle 

Remover 
Chic Polish Remover 
Chic Oily Polish 

Remover 



AT THE 10c STORES 





WYNNE GIBSON 

Invents New Salads for Lunch 



LIQUIDS for breakfast, salads for 
/luncheon and the sky's the limit 
for dinner. That, in brief, is Wynne 
Gibson's answer to the question of 
three meals a day. Her favorite for the 
big meal is broiled beefsteak, and for 
luncheon any sort of salad in which raw 
vegetables predominate. That, at least, 
is one way of getting your quota of 
minerals and vitamins needed to keep 
you young and beautiful. 

Here are some of 
the Wynne favorites: 

C A B B A G E-APPLE 

Salad: Wash, quarter 
and core 2 juicy red 
apples and chop 
coarsely without par- 
ing. Mix with 2 cups 
freshly chopped cab- 
bage, Yi cup chopped 
walnuts or pecans, 
and Ya cup real 
mayonnaise. Serve on 
crisp lettuce leaves 
garnished with sliced 
stuffed olives. 

Raw Spinach 
Salad: Use crisp ten- 
der spinach leaves, 
stripped from the 
stems. Place the spin- 
ach on a board and 
mince with a knife 
until you have about 
V/t. cup. Mix with 1 
cup chopped celery 
and 1 teaspoon onion juice. Serve on 
lettuce with real mayonnaise or French 
dressing. 

Celery Root Salad: Carefully pare 
3 or 4 celery roots and grate about 1^-2 
cup. Combine with equal amount of 
chopped celery stalk, and Y* cup grated 
Brazil nut meats or chopped pecans. 
Serve on lettuce with desired salad 
dressing. 

New Onion Salad: Mix Ya cup 
freshly chopped parsley and Ya cup 
freshly chopped onion with French dress- 
ing to moisten thoroughly. Slice two 
medium size tomatoes and arrange on 
lettuce leaves, and spread tomatoes with 
parsley and onion mixture. 

Wynne Special: 

1 cup grated raw carrot 




Yz cup finely minced celery 
Yz head lettuce, shredded 
Ya cup grated unpared radishes 
Ya cup chopped parsley 
Mix together the grated and minced 
vegetables, moisten with a little French 
dressing, arrange on a bed of shredded 
lettuce and serve with mayonnaise. 

Turnip Salad: Select small tender 
turnips, mild radishes, Bermuda or 
Spanish onion, parsley and crisp lettuce. 
Wash the turnips and 
grate Y± cup. Wash 
radishes and without 
paring grate Ya cup. 
Mix with % cup 
chopped onion and 4 
tablespoons chopped 
parsley. Arrange on 
beds of lettuce and 
serve with real may- 
onnaise or French 
dressing. 



Here are other vegetable salad com 
binations that Miss Gibson recommends: 

Grated raw carrots, diced celery, 
raisins on lettuce with mayonnaise. 

Red cabbage, celery, onion and pars- 
ley with French dressing. 

Diced cooked potatoes, chopped raw 
cabbage and onions in green pepper 
cups. 

Chopped cucumbers, and minced 
watercress with mayonnaise in tomato 
cups. 

Shredded green pepper, chopped pi- 
miento, minced celery and olives. 

Green pepper, cabbage, carrots and 
sweet pickles. 

Raw cucumbers, diced cooked beets, 
chopped sweet pickles. 

Shredded romaine and endives with 
diced cucumbers in tomato cups. 

Chopped celery, chopped figs and 
chopped nuts on lettuce with mayon- 
naise. . 



There's endless variety in the flavor 
of fresh raw vegetables 




The makings of Miss Gibson's favorite salads 



48 



The Neu> Movie Magazine, February, 1935 




Awake the 

SLEEPING 
BEAUTY 

in Your Hair 



BRING out the lovely natural lustre 
that slumbers in YOUR hair — the 
soft natural beauty that waits to be 
wakened by THE SHAMPOO that 
Cleanses Perfectly, then Rinses Com- 
pletely — Marchand's Castile Shampoo! 

This wonderful beauty-awakening 
shampoo leaves the hair shining clean, 
aglow with little natural highlights. The 
texture of the hair is made soft, caress- 
able — because THIS shampoo cleanses 
Perfectly, then Rinses Completely. 

Easy to Re-Arrange your Hair 

After shampooing with the New Mar- 
chand's Castile Shampoo — hair is left ex- 
ceptionally manageable. A pat here and 
there — and your hair is nicely arranged 
again! 

Use Marchand's Castile Shampoo to cleanse 
all shades of hair. It has positively no lighten- 
ing effect, it does not change the color of the 
hair. But it does bring out the natural lustre 
and beauty of hair through its New superior 
cleansing and rinsing action. 

Marchand's Castile Shampoo is made with 
selected high grade olive oils. Remember, 
olive oil is good for scalp and hair — particularly 
for those who suffer from dryness and dandruff. 
Men should avoid using ordinary soaps on their 
hair — and. change to this fine product — made to 
benefit hair as well as to cleanse it. 

You use a smaller amount each time — there- 
fore, you get more shampoos per bottle. Ask 
at your favorite drug counter for 



MARCHAND'S 

CASTILE SHAMPOO 

To Cleanse All Shades of Hair 
Does Not Lighten Hair. 



ASK YOUR DRUGGIST— OR TO GET BY 

MAIL T-C 235 

Fill out this coupon, send with 35c in 
coins or stamps to C. Marchand Co., 251 
W. 19th St., New York. 

35c enclosed— Please send SHAMPOO to 

Name 

Address 

City State 



Why I'd Hate to be 
a Movie Star 

{Continued from page 44) 

scrubbing floors in an office building. 
But I should mind scrubbing floors at 
the age of thirty if, at the age of 
twenty-nine, I had been billed on il- 
luminated signboards from coast to 
coast as "America's Dream Lover." 

What can a star do to make a living, 
once he's through in pictures? Nothing 
he can ever do again will be tops. His 
past will always dim his future. Be- 
sides which, a star spends the very years 
when he might be learning how to make 
an honest living groaning "I love you, 
I love you, I love you" in front of three 
cameras, a collection of prop boys, and 
anybody else in the studio who doesn't 
happen to be working at the moment. 

By the time the public gets tired of 
hearing him say ''I love you" it's too 
late for him to learn to be a track- 
walker or a stenographer. From then 
on he's just plain, unskilled labor — 
with a glamorous past, maybe, but un- 
skilled labor just the same. He can't 
even make a living painting artificial 
daisies on fly-poison cans. 

Nor should I enjoy, during those 
precious five years, spending sleepless 
nights worrying, worrying, worrying. 
Worrying whether my contract would 
be renewed. Worrying about political 
enemies in the front office. Worrying 
about rival stars. Worrying about 
publicity, salary, bills, my unenviable 
future, staying at the top of the heap. 

I should hate to sign autograph books. 
I'd know that the eager autograph hunt- 
ers didn't really give a darn about me 
personally. 

I shouldn't enjoy having fans write in 
for my photographs and then use them 
to tack up over the spot on the wall 
where the rain came in. Or to draw 
mustaches on. 

If I were a star, any manufacturing 
company in America could buy my face 
to advertise its product, if it paid the 
studio enough. And the money would 
go to the studio, not me. 

"Jack Jamison, cute child star of 
Awful Pictures, drives the Little Mattie 
Steam Roller. Have You A Little Mat- 
tie in Your Bedroom?" 

No, I have not a Little Mattie in my 
bedroom. I don't want a Little Mattie 
in my bedroom. Even to be a star, I 
will not have a Little Mattie snorting 
around my bedroom squashing the furni- 
ture. Not for six thousand dollars a week ! 

I should hate to slave from five in the 
morning till twelve at night for six 
weeks or longer on a picture, giving it 
everything I had, and then have every 
critic in New York say I was a ham 
who ought to go back to street-cleaning. 
Of course it would be true. I would 
give a bad performance, because I was 
never cut out for an actor in the first 
place. And I would be a lot better off, 
back pushing my little trolley-wagon 
down the street looking for tinfoil or 
anything else lying around. But it 
would hurt to hear it, just the same. 

I should hate to have royalty and 
famous people come to Hollywood and 
live with me for months as my guests 
and then go away, chuckling, to tell 
their titled friends back home that I 
was just too, too laughable — a little 
child of the slums trying to feel at 
home among my fifty servants and my 
twenty Rolls-Royces. 

I should hate to have to live up to 
the characterizations of my pictures. 
Always cute, if I were an ingenue. Al- 
ways tough, if I were a he-man. Al- 
ways funny, if I were a comedian. 

Most of all. I'd hate to kiss babies. 

I'd hate to be a star! 




HAHVS 



H€A#rr t 



f 



%^f^ 



If you were a man, could you get a thrill 
out of touching a dry, chapped hand? 
You know you couldn't — it's the dear- 
little-smooth-little hand that gives him 
a romantic feeling. . . . 

This winter, keep your hands thrill- 
ingly smooth ! Hinds Honey and Almond 
Cream will help you. Hinds soaks the 
skin with rich soothing oils — quickly 
restores velvety texture ! This is because 
Hinds is more than a "jelly." It is the 
penetrating liquid cream — it lubricates 
deeply with quick-working balms. 

As fragrant . . . rich ... as the liquid 
creams costing $2 at expensive beauty 
salons. But Hinds costs only 50^ and 25^ 
at your druggist, or 10^ at the dime store. 





^/wW/ Uietmv 



The New Movie Magazine, February, 1935 



49 





DON'T CHEAT 
YOUR BABY 
OF VITAMINS 



Tests reveal 
that ordinary 
home -cooked, 
home -strained 
vege t a bles 
lose much of 
their vitamin 
content 

OF COURSE your baby's health 
well repays you for the time you 
spend cooking and straining vegetables 
for him. But there is a better way — a 
way to assure far higher vitamin con- 
tent and to do away with tedious 
preparation. 

Heinz vegetables are prepared hours in- 
stead of days after being harvested. 
Each day before being cooked dissipates 
vitamin content. These really fresh 
vegetables are cooked and strained 
without exposure to vitamin-destroying 
air — then vacuum-packed into enamel- 
lined tins. 

Test after test proves that in Heinz 
Strained Foods, vitamins and mineral 
salts are retained to a far higher degree 
than is possible with ordinary home 
methods. 

Try three or four varieties of Heinz 
Strained Foods. Do away with tedious 
preparation. And, more important, be 
assured that your baby is getting an 
abundant, uniform quota of iKflA. 
precious vitamins and minerals. jjK 
• "■ — ~ 

SEND FOR THIS VITAL BOOK -New, 
valuable facts about vitamins and minerals in 
infant diet are revealed in this new book, "Mod- 
ern Guardians of Your 
Baby's Health". All 
facts in it have been 
accepted by the 
Committee on 
Foods, American 
MedicalAssociation. 
Send labels from 3 
tins of Heinz 
Strained Foods and 
10 cents to H. J. 
Hein2 Company, 
Dept. TG202, 
Pittsburgh, Pa. 




Lieinz Strained Foods in- 
clude 8 varieties — Strained 
Vegetable Soup, Peas, 
Green Beans, Spinach, 
Tomatoes, Carrots, Beets 
and Prunes 



HEINZ 

STRAINED FOODS 

A Group of the 57 Varieties 



Royal Squabbles of the 
Movie Queens 



(Continued from page 38) 



returned from abroad the ship reporters 
asked her what she thought of Mae 
West fashions. You will recall she said: 
"And who is Mae West?" For a time 
Hollywood was breathless. Miss West is 
calm, collected and self-assured. She ap- 
parently didn't hear. Fight fans laid 
money she was just playing for time. 
Then the inevitable face-to-face occur- 
red. No assassination. Marlene offered 
the old royal alibi, "misquoted." Heck, 
said everyone. 

TTOLLYWOOD males have never 
-^ been militant. Not over screen 
prestige anyhow. They still sock one 
another at parties in defense of a lady's 
honor. On the whole, though, the rugged 
individualism of pioneer filmland, when 
even ladies packed guns, has succumbed 
to white tie regimentation, and if you 
want to get along socially you'd do well 
to follow Max Baer's example and buck 
up on Emily Post. A guy that wears a 
sweat shirt to a salon these days is 
rated a show-off — or "poseur" as we 
say in our salons. 

Hollywood, like any other rich town, 
finds relief in social skirmishes. For 
years Pickfair ruled the peerage and 
Mary's prestige was considered as unas- 
sailable as the late dowager Mrs. Van- 
derbilt's. Following a triumphal tour 
of the courts of Europe, Madame and 
Monsieur Fairbanks were the official 
hosts of noblemen. 

Then Marion Davies came West and 
the course of nobility was deflected to 
the Georgian mansion flying the biggest 
flag on the Pacific Coast. To the Davies 
court went princes, statesmen, artists 
and finally George Bernard Shaw. 

Miss Davies' parties excel others in 
originality and gaiety, and they are 
widely democratic. Indeed, I recall a 
masque ball at which Miss Davies even 
invited Los Angeles society, along with 
the Hollywood hosts. Late in the doings 
two youths altercated loudly, peeled 
off their coats and retired to have it out. 
Greatly agitated, Miss Davies ex- 
claimed: "That's what you get for in- 
viting society!" 

Since Norma Shearer's marriage to 
Irving Thalberg, the star-making 
maestro of M-G-M, she has acquired 
the title of First Lady of Hollywood and 
her mansion near Miss Davies' on the 
Santa Monica sands is arbiter of ele- 
gance. It is her position in the studio, 
however, that is regarded with envy. 
As the wife of // Capo she is naturally 
considered the favorite of fortune, and 
fortune to a star me^is stories. Tact- 
fully, Mrs. Thalberg refrained from any 
outward show. She exercised no royal 
prerogatives in the way of acquiring a 
dressing bungalow, although Miss 
Davies had one more sumptuous than 
the petit Trianon and the first two- 
storied dressing "bungalow" in Holly- 
wood. When John Gilbert was the 
white-haired boy at the box-office, one 
of slightly less regality was erected for 
him. Cecil B. DeMille was given an- 



other castle, and there is a dining bun- 
galow for executives. Miss Garbo has 
remained in the barracks, and Miss 
Shearer has also to date, anxious not 
to upset the delicate balance of power 
among studio royalty. With extraor- 
dinary tact, blessed in a miraculous 
memory for names and appointments, 
invested with more charm and with 
more wit than she has managed to con- 
vey to the screen, she has astutely main- 
tained good will. 

Oddly, Miss Davies, through similar 
gifts of diplomacy, combined with gen- 
erosity and warmth of personality, has 
escaped outward jealousy while enjoy- 
ing luxurious favors. Her bungalow — 
actually a spacious dwelling of many 
rooms — was an open house. She likes 
people around her all the time, especi- 
ally favoring those who can make for 
laughter and general merriment. Miss 
Garbo's set is guarded and silent like a 
hard-working artist's atelier. Miss 
Shearer's set is business-like, of pleasant 
but quiet tone. Marion's was distinctly 
good time, with quips and pranks and 
wanton wiles. In this respect it re- 
sembled the old-time studios of Holly- 
wood, when picture-making was more or 
less play and no one worried much. 

I lunched with Miss Davies one day 
when a famous writer came to ask a 
favor. The latter had quarreled with 
the studio chiefs and wanted Marion to 
act as intercessor. "I don't see why I 
have to patch up everyone's fights," 
Marion sighed. "I've never had a word 
with anyone on this lot. Why do people 
fight? You never gain anything fight- 
ing." At that time she informed me 
that she liked M-G-M better than her 
New York Cosmopolitan studio where 
she worked in the beginning. "And 
that's saying all I can because I loved 
that gang." Hence I see her farewell 
proclamation of love and good will as 
something more than a diplomatic ges- 
ture. 

THE way I feel about the two royal 
ladies is that they, like Marie 
Antoinette, are innocent figures in this 
world-shaking conflict; of course, they 
have royal ambitions, and a queen must 
think of her fans before herself. Other- 
wise the day will come when the throne 
will not be there when she sits down. 
The personal charm of the Davies has 
never been fully translated to the screen. 
Neither has the Shearer's. They are 
more remarkable as women than ac- 
tresses. (Am I the intercessor?) Far 
be it from me to say which should play 
Marie Antoinette. I shall grieve equal- 
ly at the beheading of both. And I 
think the French Queen is getting a big 
break. If she had been as tactful, sym- 
pathetic and wise as these royal ladies, 
the French Revolution would have been 
as bloodless as this one in Hollywood. 
Further proof that Hollywood has it all 
over Europe in everything, including 
royalty. 



Join the Peoples' Academy by sending your votes 
on the twelve outstanding motion picture achieve- 
ments of the year. See page 42 of this issue for 
further details regarding the free trip which we 
offer our readers. 



Dress Up 

your kitchen 




Photograph courtesy of Lewis & Conger 



7 diagram patterns for 
15 f£ bring beauty and 
charm to the kitchen 



Just between us women, isn't a kitchen 
a much pleasanter place to be in when 
it boasts a few gay spots . . . new cur- 
tains, a pot of flowers, colored can- 
isters! You'll enjoy making these 
attractive kitchen accessories below 
from diagram patterns, each one with 
complete directions. 

CURTAIN PATTERN 

To be made from scrim and checked gingham- 
With this are directions for making checked 
flower pot holders to match. Very decorative. 

CROCHETED STOOL COVER 

It's easy to make a crocheted stool cover and a 
matching floor mat from heavy white and colored 
cotton thread! Directions tell you how. 

COLORED CANISTERS 

Empty tin containers can be transformed into 
good-looking, serviceable canisters with the 
aid of waterproof paint and simple stencils. 

LETTUCE BAGS 

Unbleached muslin decorated with designs in 
colored cotton. Useful and good-looking. 

TABLE PADS 

No scarred tables when bone rings are made into 
table pads with a good-looking crocheted body. 

OILCLOTH CASE 

A necessary convenience for memo pads, pencils 
and sales slips. A clever "dummy" prize. 

TWINE HOLDER 

You'll never be without a ball of twine in a 
handy place when you have this wall holder. 

Send for these diagram patterns 
today . . . all seven for 15 cents 

Frances Cowles 



TOWER MAGAZINES, Inc. 

55 Fifth Avenue New York, N. Y. 



50 



The New Movie Magazine, February, 1935 




A famous doctor says: "Ambrosia not only 

cleanses thoroughly and deeply, but is antiseptic, 

healing and tonic. It reduces large pores." 



LARGE PORES 



DON'T suffer another minute with large pores 
and blackheads. Use Ambrosia, the pore- 
deep liquid cleanser, three times a day. You feel 
Ambrosia tingle; you know it is cleansing as 
nothing has done before. 

Using Ambrosia is like putting your skin on a 
liquid diet. There's nothing to clog or coarsen 
pores. In as little as three days blackheads begin 
to go, complexions are clearer and smoother. 

If skin is oily, sallow, follow every Ambrosia 
cleansing with Ambrosia Tightener. It lessens 
oiliness, clears muddy complexions, refreshes 
and stimulates. 

If skin is dry, follow every Ambrosia cleansing 
with Ambrosia Cream. It is the only cream that's 
practically identical with skin oil. Ends dryness, 
smooths lines. 75^ each at all drug and depart- 
ment stores. In smaller sizes at 10e' stores. 

AMBROSIA^^ 

THE PORE-DEEP CLEANSER 



BACKACHES 
NEED WARMTH 

Tens of thousands of folks who used to suffer 
from miserable backaches, shoulder pains and 
chest congestion, now put on an Allcock's 
Porous Plaster and find the most soothing re- 
lief. It's simply wonderful for muscle pains 
caused by rheumatism, neuritis, arthritis, sci- 
atica, lumbago, sprains and strains. 
The beauty about Allcock's Porous Plaster is 
its nice glow of warmth that makes you feel 
good right away. Actually, what's happening 
is that it draws the blood to that spot. It 
treats the backache where it is. No dosing 
when you use Allcock's Porous Plaster. No 
fuss or muss, either. Allcock's is the original 
porous plaster. In almost 100 years no porous 
plaster has ever been made that goes on and 
comes off as easily, or that does as much good. 
Be sure the druggist gives you ALLCOCK'S 25c. 

MAKES 
IRONING 



EASY 



TRY 

THIS 

FREE 



y---g-'S 



m 

HOT STARCH 
IN 30 SECONDS 



This modern way to hot starch 
ends mixing, boiling and bother 
as with lump starch. Makes 
starching easy. Makes ironing 
easy. It restores elasticity and 
that soft charm of newness. No 
sticking. No scorching. Your iron 
fairly glides. Send for sample. 

THANK YOU 

I THE HUBINGER CO., No. 797, Keokuk, la. [ 
Your free sample of QUICK ELASTIC, please, | 
J and "That Wonderful Way to Hot Starch." 

I 
1 

I 






DIET PROBLEMS 
of THE STARS 

Conducted by 
DR. HENRY KATZ 



/^\NE of New Movie Magazine's 
^-^ readers brings up this question 
about beautiful teeth seen on the 



"I have noticed in the pictures that 
actors and actresses in Hollywood all 
have gleaming white teeth. I have been 
told that this is because people in that 
part of California eat so much fresh 
fruit. Is this really the explanation? 
And would eating lots of fruit be good 
for my teeth? If not, I would like to 
know what they do to make their teeth 
so white." 

Eating plenty of good fresh fruit is 
a good thing, but it does not make the 
teeth of movie stars white or glistening. 
Individuals with exceptionally poor 
teeth do not get into the movies unless 
the defects are the sort that can be 
remedied by expert dental work. More- 
over, actors and actresses in Hollywood 
have the advantage of the constant at- 
tention of the best dentists, who keep 
their teeth in good repair. And the stars 
themselves unquestionably are more con- 
scientious about caring for their own 
teeth than the average individual. 

That is undoubtedly the only sure 
way to keep the teeth in best condition 
— to look after them with utmost care. 
But a diet that keeps the body in good 
condition is of course good for the teeth. 

This question of fruit, cooked and 
raw, brings another question: 

"I have always considered stewed 
prunes a most wholesome fruit to serve 
at breakfast. Is there any truth in the 
statement that they are acid forming?" 

Stewed prunes are excellent at break- 
fast and as a dessert. They are tasty 
and act as mild laxatives and they con- 
tain much nourishment. There is no 
basis for the opinion that they might 
form acid in the system. 



This new department in New Movie 
Magazine is conducted by Dr. Henry 
Katz, experienced general practitioner 
and member of the staff of Fordham 
Pediatric Clinic, New York. If you 
would like expert advice about any 
questions of food or diet, send them 
to Mary Marshall, 55 Fifth Avenue, 
New York, N. Y. Dr. Katz will per- 
sonally direct the answer to your 
problem unless it is one that calls for 
advice of your family physician. Ques- 
tions and answers of special interest 
will be published — with senders' names 
omitted — in this department, except 
where special request is made not to 
have the answer used in this way. 
Letters should enclose stamp, or 
stamped, addressed envelope for reply. 



Amazing New Way 

to beautify yourself 
almost instantly 

/lew too JlaA^!, tovMrum? a/cuo? too ncMour, tboAownd f 
(Juri toxr hhrnrwrwnt, totr u/eaA / 

Which face is yours? 




ROUND 

Mold a darker shade on 
the lower side of the jaws, 
blending into neck. 



TRIANGULAR 

Mold a lighter shade on 
the lower side of the jaws, 
blending into neck. 



SQUARE 

Darker shading should be 
done on the lower jaws 
and on sides of forehead. 



NORMAL 

Use only the one shado 
of Soft-tone that matches 
your skin coloring. 



Hour icr -/rum^ out' youA StAf -^ritaJuA^ 
rVtru/^cr SJwuiour' "youA ~vuxmdLcxzpA^_^ 

NOW comes a scientific discovery of vast how to prove it. Buy one box of the shade that 
importance to women, the greatest step matches your complexion in general. Trier 1 
in modern make-up. buy another box — lighter if you wish to ac- 

... A way so simple, so practical that you*ll cent certain features, darker, if you want to 
be amazed ... A way that costs so little that shadow them. 

you'll be delighted. No plastic surgery. No For i nstance) jf your nose j s too small, and 

long, costly treatments. therefore needs accent, use a lighter Mello-glo 

This wonderful discovery is called Mello- powder than on the rest of your face — if your 
glo Modeling, a new and ex- ^^^^^^^^^^^^^^^^^m nose is t0 ° prominent and 
elusive way to apply face pow- I ■iBBr^BHff^^^Brafl H needs to be subdued, use a 
ders . . . now instead of using I H2ySUt|i|H I darker shade. 

only one shade of powder, you ■yEl "^ii'TJolCPlltlt BUM „, , „ _ , - 

i i j ii MHHYNNlflnPVPPnrVWITfl 'hen -land oil 5 teet from 

get an utterly changed, allur- BQQ|i|g|H|flG| your and note the ar- 

mg effect by using two differ- IBmBjflMilfiWl tistic effect how the shades 

ent, related shades. VHjQyJ^B^UotiikBUnlBal mi . „ t „;. „ 

WMMBMMMIMWHWBjWg blend unnoticeably yet 

Authentic charts and dia- KfJrMrffffBTffll! 1 WISH tnal artistic oval effect, 

grams, based on practices of Ijljgg gffi T (he varioug Me]1 lo 

artists and sculptors show you Hi Modelings - how to widen or 

exactly what to do, how lo do BH f£Q nam)w your [an ,_ how [Q bring 

"• Now >" u pan model your M HTffl I out or sha dow features, how to 

face as you wish, highlighting ■ffPflircU HioHrffHrcTra?fl v 1 

. . . ■LUjMilunUlu£]Ujnj|jiyiM normalize your contour, how 
your best features, subduing BiMmill IKVHIM.IKKH HTO tu„ 

1 ' IMlJllliTIMillMjiMMwtiMMJl I" create new interest. 1 Ik- 

>'""' handicaps. I he results H 3JS whole fascinating, easy method 

are truly satisfying. HEBE HI of Mello-glo Modeling is told 

This revolutionary contribu- Sffl £■ B in '""' i "' 1 ' booklet, ""The New 

tion — worked out after years Vogue in Powdering." Don't 

of research and experiment — is offered by the wait, send for a copy NOW. 
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The Neiv Movie Magazine, February, 1935 



51 




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The Most Uninteresting Man 
in Hollywood 



{Continued jrom page 24) 



screen, instead of just a series of comedy 
gags, but Lloyd knew what he wanted 
and was willing to take a chance. The 
latter comedy still ranks as one of his 
greatest successes and one of the truly 
memorable fun-fests in screen history. 

Roach grew as a producer, and finally 
had so many companies in his own 
studio that he persuaded Lloyd to form 
his own unit organization. On his own, 
then, the comedian turned out such hits 
as "The Freshman," "Safety Last," 
"Kid Brother" and "Girl Shy." He 
readily adapted himself and his produc- 
tions to the talkies, and when they took 
hold while he was producing "Welcome 
Danger," he about-faced and re-made 
most of the picture in sound, with the 
result it was an outstanding comedy 
achievement. Following, came "Feet 
First," "Movie Crazy" and now, "The 
Cat's Paw." 

"The Cat's Paw," his latest screen 
offering - , and hailed as one of his best 
pictures, marks a new type of comedy 
for Harold Lloyd. The feature is his 
first pictorial endeavor with a story 
from the pen of a recognized author, 
and a distinct departure from the style 
of comedy which won him world-wide 
acclaim. Instead of depending upon 
gags and situations, as formerly, in "The 
Cat's Paw" a well-defined plot and 
story are unfolded to hold the audience, 
with gags interpolated only when they 
occur in the natural course of events. 

With his transition in the line of 
story, Lloyd stands at the turning point 
of his career. Possibly I should say, 
he is embarking upon a new career. He 
feels that the old type of comedy is 
doomed, and should he insist upon fol- 
lowing his original formula he will lose 
both caste and popularity. For that 
reason, he is starting a new deal for 
himself (even a millionaire has that 
privilege) and henceforth will offer only 
productions which have some very defi- 
nite plot for substance. 

On the threshold, as it were, of a new 
professional life, Lloyd must necessarily 
adapt himself anew to the changing of 
the times. His action in abandoning 
gag-and-situation comedy for the plotted 
narrative is his most radical step since 
he progressed from three-reelers to fea- 
tures. At forty, at the very peak of 
fame and success, he is initiating a 
complete conversion of policy in his 
pictures and is looking forward with a 
keen anticipation to how motion pic- 
ture audiences will, react. At forty, 
Lloyd is moving very much along with 
the times, and since the public demands 
new standards of entertainment he plans 
to satisfy that demand in a fashion 
leaving nothing to be desired. 

Considered by many the most fortu- 
nate man in the film colony, a perusal of 
his standard of living seems to bear out 
the truth of that belief. It must be re- 
membered, however, that Lloyd earned 
everything he possesses now — and the 
position he occupies in motion pictures 
— only as a result of years of laborious 
struggling . . . years, early in his career, 
that seemed to offer but small promise 
of bearing fruit. As a beginner, he 
knew hardship and despondency — al- 



though at no time did he actually go 
hungry — and there was a time, after the 
explosion of a bomb, that surgeons de- 
spaired of saving his vision. For months, 
he remained in a shuttered room, with 
bandages over his eyes, anxiously await- 
ing the outcome. Fortunately, he 
emerged from what might have been a 
tragic accident with his eyesight unim- 
paired. 

Although the owner of halls that 
would have caused a robber baron to 
rub his eyes in amazement, Lloyd wan- 
ders about his vast estate entirely un- 
conscious of his standing in the com- 
munity. In all truth, he is the squire 
of Beverly Hills. To visit his magnifi- 
cent home, set high on a hill surrounded 
by sixteen acres of landscaped wonder- 
land, is to realize that the ultimate in 
simplicity and grandeur has been 
reached. 

Presiding over this establishment — as, 
indeed, it is, in every sense of the word 
— Lloyd accepts his responsibility with 
the same unconcern and absence of 
affectation that distinguishes all his ac- 
tions. He entertains world-famous 
celebrities and prop men from the studio 
with equal courtesy and hospitality, and 
he is never so happy as when he can 
strip to the waist and engage in a 
strenuous game of handball or tennis 
with one of his studio gang. On his 
estate is a nine-hole golf course that 
champions declare one of the finest in 
the country. Where others might be 
pardoned in boastfully showing off their 
home, were they in Harold's shoes, 
Lloyd is reserved, so reticent that it is 
difficult at times to realize his being 
master and lord of the manor. 

He and his wife live in quiet sim- 
plicity, along with their three children, 
Gloria, Peggy and Harold, Jr. Lloyd 
married his leading lady, Mildred Davis, 
in 1922, and about four years ago they 
adopted beautiful, round-eyed Peggy, to 
grow up with Gloria. 

Occasionally, the Lloyds will stage a 
party . . . and everybody in Hollywood 
strives for an invitation. 

You can generally find a news scribe 
or two lolling at his ease in the Lloyd 
den or down beside the enormous, mag- 
nificently-tiled swimming pool. Al- 
though these men, many of them known 
through their nation-wide syndicate col- 
umns in every city in the country, are 
Harold's friends, few of them mention 
the comedian in their daily Hollywood 
articles . . . for the reason that there is 
nothing to say. He has everything . . . 
yet his very existence is so uneventful, 
even though one of filmdom's greatest 
figures, that they cannot put their 
fingers on a single note to exploit. 

It is a travesty on the laws of news- 
making, but the one man in Hollywood 
whose home is the showplace of South- 
em California, who enjoys the acclaim 
and affection of the entire world for the 
pleasure his pictures have given, whose 
income can be computed only by experts 
and whose rise to international renown 
is one of the greatest success stories 
ever revealed ... it is he who can be 
described as the most uninteresting man 
in Hollywood. 



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52 



The Ne%v Movie Magazine, February, 1935 




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George Jean 

Nathan's Movie 

Favorites 

(Continued jrom page 17) 

sorship in the nearly-great "Doctor 
Monica," that unwieldy story that 
forced her into the role of a suicide to 
keep Kay Francis and Warren William 
together. Without doubt this was the 
sappiest yielding of movie producers to 
a false morality ever exploited on the 
screen. They forget that boys and girls 
are always with us and there is a thing 
called love. 

It was nice that they redeemed her 
in that rare and worthy film, "As the 
Earth Turns,'' and even nicer, to dis- 
criminating auditors, to see her heroic 
efforts to redeem such trash as that 
industrialist film-story from Louis 
Bromberg's not-so-excellent yarn, "A 
Modern Hero. 1 ' 

Now I am aware that this com- 
mentary of mine has been critical rather 
than characterizing. But after all, they 
are Mr. .Nathan's choices — not mine. 
Still I like to think he made any choice 
at all. There was a time, and it is not 
far away from any man's memory, that 
he would have thrown you out of his 
quarters had you mentioned the screen. 

I am glad he has come 'from behind 
his curtain. Now with his new found 
screen interest he joins the common 
humanity of us all. He likes the art of 
Loretta, Jean and Sylvia. But what are 
they to him but shadows he is trans- 
lating into women who love and suffer 
and triumph since so they do in their 
various roles? We all make this trans- 
lation. 

I talked with him once about New 
York and the old days in his living- 
room. It is a beautiful setting, his 
quarters, taking on, this day, an added 
glamour because of his reticence. The 
books, the drapes, the black-and-gold of 
its cushions harmonized to the obbli- 
gato of his words. He said: 

"There is no more tradition, or at 
least the substance that was ours has 
gone. The dollar aristocracy is partly 
responsible for this. New York is un- 
like London and Continental centers. 
Here we admire and pay tribute to 
cheap men. The expression is half the 
time false; half the time a news head." 

In this introspection may be the key 
to his conversion. What irony, finding 
the truth in Hollywood! 



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The New Movie Magazine, February, 1935 



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54 



That Gay Gir 
Ginger 

( Continued from page 21) 



taller in the long white pajama coat. 
It is polka-dotted in black and just to- 
be tricky the trousers are black polka- 
dotted in white. 

"I went to bed at six this morn- 
ing,," she said, "and was up at ten.'* She 
didn't sound at all world-weary, but I 
confess that .the six a.m. stuff worried 
me. I do it myself now and then, but 
when I had a career to .think about, my 
mother, who was always with me, saw- 
to it that I thought it best to do that 
sort only on very special occasions. I 
was mentally stroking my beard and 
about to go into my lecture. I was 
going to tell Ginger that a girl alone 
has to be very careful. 

I was really working myself toward 
a snappy exit out of one of the t'wenty- 
seventh-story windows. Fortunately I 
never got to speak my piece. A door 
opened and a smiling lady entered. As 
she did so the titles secretary, older 
sister, companion, auntie and business 
manager flashed through my mind. Just 
why I, of all people, who know that 
fine mothers make sane girls, should 
not have credited Ginger with one, I'll 
never know, but when she said, "J, want 
you to meet my mama," you could 
have knocked me over without the aid 
of that well-worn feather. This one 
(Ginger pulled her mother down beside 
her on Mrs. Waldorf's deep divan) is 
great copy herself. She's a writer, pro- 
ducer, and — 

"I've always been- a great admirer of 
yours, Miss Janis," said Mrs. Rtfgers, 
adding tact to her aforementioned quali- 
ties. "Ginger used to imitate you when 
she was a kiddie." 

For some strange reason I always 
imagine these new stars drop from, the 
edge of a rainbow. It never enters my 
calculations that they were just kids in 
towns all over this country when I and 
other luminaries were appearing in them 
"For One Night Only." 

"Where did you ever see me?" I ad- 
dressed the question to- both and re- 
ceived simultaneous answers. 

"In Forth Worth!' Mama was dra- 
matic critic there!" 

As a rule I spare my subjects the 
wheres, whys and whens of life, but 
these two smiling Rogers girls brought 
out the reporter in me. I'll make the 
results as snappy as possible for what- 
ever the past holds their present is 
perfect; their future fascinating to con- 
jure with. Ginger was born in Mis- 
souri. Where? I didn't ask. Missouri 
in itself explains why she can register 
"Show me!" so well. Raised in Fort 
Worth, Texas, where her mother be- 
came dramatic critic of the* Fort Worth 
Record. Stepping jauntily from her 
"kiddie kar," Little Ginger went with 
mama to see all the shows. No "on 
the outside looking in" for that baby. 
On the inside looking up she watched 
and dreamed. 

Mrs. Rogers put on charity per- 
formances between criticisms of profes- 
sional ones. In these Ginger appeared 
with other »amate.ur talent. About the 
best- thing Ginger did was dance, so 
whajt could be more natural than for 
the nimblest of town steppers to win 
the Charleston contest which a local 
theater staged. With the prize went 
four weeks of personal appearances in 
the key cities of Texas. Mrs. Rogers 
must have, been tired of criticizing. It's 
a wearisome job. Anyway, at the end 
of the four triumphal weeks, during 
which Ginger won practically every- 
thing from the key cities but their 
keys, Mrs. Rogers wired an agent in 



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Chicago, "Ginger Rogers open after 
March 18th." The lady wrinkles her 
turned-up nose as she tells this and 
adds, "Open for what we didn't quite 
know." Neither did the agent, but the 
result was twenty-two weeks of vaude- 
ville. Good-bye, Fort Worth— Hello, 
Broadway. It all seems so- simple now. 
Several musical shows, the most notable 
being "Girl Crazy." As a sideline, Gin- 
ger made pictures for Paramount at 
Astoria, Long Island. The theater was 
going down — talkies were leaping up. 

Mrs. Rogers' gal Ginger must be 
where the going is good! "Good-bye, 
Broadway — Hello, Hollywood ! Don't 
you hear us? The Rogers girls? We 
said Hello, Hollywood!" 

"But no one paid any attention to 
us," said Mrs. Rogers. Retrospection 
brushed .the twinkle from her blue eyes 
for just a moment. "For six months we 
sat. All going out and nothing coming 
in. Then one day it happened — I 
didn't even ask how it happened. I 
know my cinematics. Someone met 
Ginger who had told her six months be- 
fore that she would be a sensation in 
pictures and said, "Why, hello! When 
did you arrive?" It really doesn't mat- 
ter now that Ginger's here, but one 
must resent that six months spent 
"vamping till ready" as all vaudeville 
acts used to do. 

Ginger had stewed prunes and iced 
tea for lunch. Don't let her fool you. 
She had just finished a hearty break- 
fast when I arrived, but she had to keep 
me company. 

We talked about the night spots of 
New York. I don't know them and I 
must say the Rogers girls sounded 
rather as if they would be glad to meet 
a bed socially at a regular bedtime 
again. We talked about football, or 
they did. They had seen the Fordham- 
Saint Mary's game. Did I say seen? 
I meant won. When Fordham took the 
California team for a touchdown practi- 
cally before the girls got comfortably 
settled, they went into their own huddle 
and decided on prayers. Mrs. Rogers 
knows as much about football rules as 
Ginger knows about football heroes, 
which is decidedly something. Ginger 
is just a regular girl, after all, and still 
gets a kick out of being the favorite 
above all other screen sirens of a well- 
known college. I won't name it, but 
her efforts to coach the studio to allow 
her to remain in .the- East to be mascot 
of the team verged on heartbreak. 

The phone rang every five minutes. 
There was no maid or secretary in evi- 
dence. Ginger did imitations of both. 
"Why don't yoir tell them downstairs 
not to- disturb you?" I said. 

"Well— er— we— " 

"Don't tell me," I interrupted. "I 
know. Afraid of missing something?" 

A mutual. "Yes!" They both 
grinned. Again I was reminded of 
Elsie and Mother in those dear days 
of newly acquired importance. 

Ginger was caught between imitations 
by an ambitious furrier. Ginger was 
extremely patient as. he roared sables 
and chinchilla into her ear. She told 
him sweetly thai she was not interested. 
Finally, without a change of expression, 
she said quietly, "/ ain't interested in 
no furs. Thanks!" Mr. Furrier will no 
doubt still be telling his great grand- 
children about the bad grammar of 
Hollywood celebrities. 

The New York Press was intent on 
digging into Ginger's love life and hav- 
ing read daily that she and Mr. Lew 
Ayers were "just good friends," I de- 
cided to do a Will Rogers and only 
know what I read in the papers but I 
could have spilled a bean or so by 
telling about a telegram which arrived 
while we were in the midst of our foot- 
ball game and scored a decided touch- 
down. The light in Ginger's eyes as she 



The New Movie Magazine, February, 1935 



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That Gay Girl 
Ginger 



handed it to Mama would have made 
Plato hide his head and cry I know 
when I'm licked. We discussed the 
changing of names. Not the last one 
but the first. 

What do you think of Ginger's name? 
Mrs. Rogers asked me. 

I had thought a lot about it oddly 
enough. She plays in a musical com- 
edy one month with Fred Astaire. The 
next picture is a straight comedy with 
Francis Lederer. So far, so good. Gin- 
ger as a name is fine as long as you 
say it with a smile, but if Carrot Top 
should suddenly develop dramatic 
tendencies, then — Oh, well, why worry 
about it yet? At time of going to press 
she is just a swell gal who likes her 
job and wants to do what the public 
demands. Her real name is Virginia 
and she does not like it, so having no 
better suggestion I advised not caring 
what the public called her as long as it 
called. I hope it will be calling longer 
and louder from now on because Ginger 
is so typically American. I'm a great 
booster for foreign stars, but I like to 
see America head the box-office parade 
in America just as they do in the for- 
eign countries. Pussy! Pussy! Look 
out, you're putting your foot in your 
milk! I don't know Mr. Lew Ayers, 
but I'm sure he must be the right one 
since both the girls chose him. Frankly 
I'm sorry the sister act broke up before 
the elder Rogers had seen Ginger just 
where she wanted her to be profes- 
sionally. She is so wise, that Mama. 
She knows there is a lot to be done yet. 
Arriving is one thing. Remaining is 
another. Mrs. Rogers had some very 
sound ideas about Ginger's career, but 
if there is one thing that can cut in on 
a perfectly sound idea it is love. Gin- 
ger's happiness came first and I hope it 
will endure until the last. After all, 
sister acts are pretty well out of vogue 
and trios are the rage. If Mr. Lew 
Ayers is content to "play straight" the 
act will be O.K., but I wouldn't like to 
get caught between a cross patter of 
those Rogers gals. I'm sure the bride- 
groom won't. Mrs. Rogers gave up 
being a critic to make Ginger a success- 
ful star — I'm certain there is nothing 
she will not sacrifice to see her a happy 
wife. So here's to you, Mr. and Mrs. 
Lew Ayers. If you have any doubts 
about anything ask Mama. If you 
haven't, ask her, anyway. She'll have 
an answer. 



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Name.. 



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The New Movie Magazine, February, 1935 



55 



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Color Magic on 
the Screen 

{Continued from page 25) 

But this is actually not the case. 

Reproduction of color is obtained 
through the use of vari-colored strips 
of negative and filters, which screen 
out some colors as the ray of light 
enters the lens and pass others along, 
all within the camera itself. The three- 
color cameras are like no others ever 
devised. There are as yet only nine 
such cameras in existence, and each 
takes five months to construct and costs 
$15,000. Technicolor owns them all and 
rents them, along with its own color 
cameramen, to producers. 

So much for the mechanics of this 
revolutionary addition to screen enter- 
tainment. Now what of the human 
genius behind it? Not the genius which 
devises the camera which makes it pos- 
sible to bring color to the screen, but 
that genius which directs its application. 
Well, start hunting around and it won't 
be long before you hear the name of 
Robert Edmond Jones. 

It was Jones who made "La Cucara- 
cha." It was Jones who is now in 
Hollywood engaged in the making of 
"Becky Sharp," the full-length feature 
all in color. 

To the movie-goer his name is un- 
known, but not so to the world of the 
legitimate theater. Since before the 
days of the World War, his has been a 
great name on the stage. He was study- 
ing the new stagecraft of Europe at 
Max Reinhardt's famous Berlin theater 
when the war broke out. On his return 
to America he inaugurated such radical 
departures in stage designing, costum- 
ing and color effects that he became in 
no time at all the outstanding man in 
his line. Since then he has designed the 
settings for more than sixty plays. 

I wanted to talk with Jones; rather, 
I wanted to listen to him. I wanted to 
hear from his own lips how it happened 
in "La Cucaracha" that when the im- 
presario (Paul Porcasi) became angry 
with the heroine (Steffi Duna) I could 
see the wave of color mounting to his 
apoplectic cheeks; how it was that the 
cloaks of the Spanish dancing men in 
the Mexican cantina were portrayed in 
breath-taking blue when blue never was 
photographed before ; what he conceived 
to be the future of color on the screen; 
and a hundred answers to a hundred 
similar questions. 

But Jones was a hard man to find. 
He had left Hollywood. He was in 
Central City, Col., staging the settings 
for "Othello" played by his brother-in- 
law, Walter Huston, during the great 
summer festival at that ghost mining 
camp. He was here, he was there. 
Finally he was in Europe. Then, sud- 
denly, here he was back in his Park 
Avenue apartment in New York one 
night — for one night only, though — be- 
tween arrival by steamer and departure 
by train for Hollywood. 

He talked, striding back and forth 
across the living-room. Night had come ; 
beyond the open windows gleamed the 
lighted towers of Manhattan, through 
them came the muted diapason of the 
great city. There was tremendous force 
abroad out there — and somehow the 
best of it seemed concentrated in this 
striking six-footer with the dark, thick, 
unruly hair and the deep brown eyes so 
arrestingly alive behind his glasses. 

"You want to know about color," he 
said suddenly, as he moved back and 
forth, seemingly unable to sit still, "and 
what it can do for the movies. Well, 
think this over. There is a difference 
between a painting by Rembrandt and 
a colored postcard, isn't there? Any 




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dub can see it. You needn't be a stu- 
dent of painting to realize that such a 
difference exists. But — what is it? I'll 
tell you. It's a difference in feeling." 

Feeling, he wondered aloud, what was 
it? And he concluded it was the mood 
created within you by what your senses 
observed. 

"In this case," he tossed out jerkily, 
"it's the mood created by what you see. 
A moonlight night or being in love 
arouse emotions, create feeling. But an 
Easter egg postcard doesn't create feel- 
ing; no, never. So when I made 'Cuca- 
rucha' I determined I wasn't going to 
make just another colored picture, but 
a painting, a real painting, a picture 
which would arouse feeling. 

"A color picture isn't the same thing 
as a black-and-white picture in color. 
The whole designing and photographing 
of the picture have to be planned from 
the beginning in relation to the color. 

"But I found they'd grown up in 
black and white in Hollywood. Just to 
give you a point, the actors would put 
on heavy make-up, as if for black and 
white, when as a matter of fact the 
color photography demands make-up be 
considerably lighter. Before making a 
beginning on "Cucaracha" I knocked 
around the Hollywood studios for a 
month. I asked them to show me every- 
thing they were doing in color photog- 
raphy. Frankly, I was amazed. 

"But, look here," I used to protest, 
"why do you throw those regular white 
lights on your actors and settings? This 
is color work, not black and white. 
Why don't you use colored lights?" 

He threw back his head and laughed 
abruptly. "They thought I was crazy. 
They wanted to know why I thought 
they should use colored lights when the 
negative was going to appear in colors, 
anyway. They thought I was a nut. 

"Do you follow me?" he asked. 
"They were using the same brilliant 
white lights as for black and white, 
whereas I thought they should use 
amber lights and blue lights and green 
lights, all kinds of colored lights to get 
in actual appearance before photograph- 
ing a scene the kind of effect I wanted 
the film to produce. 

"They couldn't see it, some of those 
Hollywood executives. But, anyhow, it 
was apparent to me that in shifting 
over from the making of pictures in 
black and white to the making of pic- 
tures in color, a complete change in 
thinking and a brand-new technique 
were both necessary." 

He puffed furiously, exploding anew: 
"Take great poetry, drama, music — the 
masterpieces which stand out from the 
common things. Why do people recall 
them? What is it that makes them 
great? It's because a Rembrandt or a 
Titian or a Sir Joshua Reynolds has 
more feeling in it than a colored post- 
card: because a strain of lofty music 
has more feeling in it than a piece of 
jazz. That's why. Why do you re- 
member Toscanini's conducting and for- 
get that of other men? Feeling. That's 
why. 

"So I said, 'To hell with white lights. 
We know on the stage the value of 
colored lights in creating feeling. If we 
want to put warmth in the heart, we 
use amber or gold lights. If we want 
to make a man's flesh creep, we use 
blue lights or green.' So then we got 
down to business and began to make 
'Cucaracha.' And I used all kinds of 
colored lights to bring out an expression 
on an actor's face, subtle shadows in a 
room, and all those various shadings it 
is impossible to obtain with the single 
use of those ghastly white lights." 

Before the actual making of "La Cu- 
caracha," however, Jones explained, he 
and Kenneth MacGowan made color 
tests. MacGowan, with whom he had 
worked years before at the Province- 



56 



The Neiv Movie Magazine, February, 1935 



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Color Magic on 
the Screen 



town Theater in the production of 
Eugene O'Neil's early plays, was his 
producer. Behind both of them stood 
John (Jock) Hay Whitney, president of 
Pioneer Pictures, backing them up, 
ready to do a real job of color pio- 
neering. 

Hollywood's literate loyally supported 
Jones, too. There was, for instance, 
John Barrymore. Years ago Jones had 
made the settings for Barrymore's his- 
toric Broadway production of "Mac- 
beth," settings still remembered, for 
they carried abstract suggestion to what 
was perhaps the farthest point ever 
reached. So when Jones was sounding 
off his theories about colored lights in 
the making of colored movies, Barry- 
more again donned the costume and 
role of Macbeth for two ten-minute 
film studies in color. 

"Here," said Jones, telling about it, 
"here. Look at these." 

He rummaged around in a tin of film 
and brought forth several strips of neg- 
ative which he held against a strong 
light. They showed Barrymore in the 
role of the melancholy Dane. Small 
though they were, the films seemed in- 
stinct with life. 

"The colored lights," said Jones, 
"aided Jack's marvelous histrionic 
abilities. He was even better, all these 
years after, than he had been on the 
stage, though that was good enough for 
any man's money." 

To Barrymore and others the tests 
proved conclusively that Jones was a 
man who knew what he was about and 
was not merely fumbling in the dark. 
To others, however — and Jones ex- 
ploded! "They'd affect a connoisseur's 
manner and say, 'What lovely sweat 
your lights bring out on a man's fore- 
head. I never saw such sweat.' 

"Make me sick," said Jones. "Pre- 
tenders. Well, if they want sweat, I'll 
give 'em sweat." He looked cryptic. 
then laughed. "Oh, hell, what's the 
difference!" 

He made an amazing statement as he 
sobered. "Every single scene, every 
single shift in groupings, I drew before- 
hand. Here." He tossed sheets of paper 
about, and triumphantly held up little 
sketches in colored crayons, each three 
by four inches, which visualized the 
changing sequences of a. scene. 

"I did this sort of thing," he said, 
"before ever launching into production. 
When I was through, we had the whole 
play, right there in my sketch book. 
It enabled the other fellows and me to 
go through it and study it and, when- 
ever we would hit a spot which seemed 
dull in color or lacking in pictorial in- 
terest, we could brighten it up, maybe 
get in some strident color contrasts. 

"One thing," he concluded, "that is 
vital to color photography is color har- 
mony. It's like this: suppose I sing 
one song and you sing another, can we 
call it a duet? Of course not. But 
some people in Hollywood think that 
so long as a film is colored, that's all 
that is required. They'll get over it, 
however; they'll learn. Why, I've seen 
some color films that were battles royal. 
Every color fought with every other. 
"When color pictures really be- 
come good," he prophesied, "they'll be 
like paintings by Whistler — restrained. 
Meanwhile, we're moving and learning." 
And color pictures are moving along, 
too. If you don't see them in your 
neighborhood movie tomorrow — well, it 
won't be long. Color — real color, such 
as you have never seen before — has 
come to the screen. 






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The New Movie Magazine, February, 1935 



57 



Helping Afi/Iions to 

END COLDS SOONER 



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55 Fifth Avenue, New York, N. Y. 



Hollywood Entertains 



{Continued jrom page 36) 



costume which he purchased in that 
country, kept their identity a secret 
the longest, wearing their masks until 
somebody snatched them off. 

Tom Brown was a wild west cowboy, 
Tiffany Thayer, the novelist, was a 
French priest; Al Rogell was a cowboy 
with a gun — which he shot off every so 
often to everybody's consternation; 
Inez Courtney wore a green Eton suit 
and hat, very chic ; Grant Withers came 
as is; Madelyn Doyle was a sweet 
Marguerite; Barbara Leonard was a 
Manchu princess ; Anne Shirley, a Span- 
ish vamp, and Henry Wilcoxon a Span- 
ish grandee. 

If Anita Louise, in New York, reads 
this, she may be assured she needn't 
worry a bit about Tom Brown, as he 
was merely nice to all the ladies, and 
not too nice to any particular one. His 
dad. by the way, came as "Mr. Amer- 
ica." 

HpHERE was quite an atmosphere of 
-*- young love and romance about the 
party which Emanuel Cohen gave at 
the Cocoanut Grove. 

Not only did Jack Oakie and Mary 
Brian appear together once more, not 
only were there the rubber-stamp ro- 
mances, as when Mel Schauer brought 
Rosita Moreno, and Frances Drake was 
escorted by Richard Blumenthal, but 
there was a hint of fresh romance when 
Sylvia Sidney was accompanied by Mit- 
chell Leisen, Gail Patrick came escorted 
by Dean Jagger, and Elissa Landi was 
squired by Jean Negulesco, and Kath- 
erine DeMille by Henry Wilcoxon. 

One of the prize stories of the sea- 
son was told at the party. Mae West 
told it on herself. 

"I said to my maid one day," she re- 
lated, "that if a certain man called, she 
was to say I was in my bath. She 
told him. And I found out about the 
rest of it later. It seems he called a 
second time and then again a third time. 
Each time my maid told him that I was 
in my bath. 

"Finally he got mad and yelled, 'Well, 
maybe she's drowned by this time. 
Don't you think you'd better look?' " 

And here's something. Marlene 
Dietrich spent half an hour talking with 
other young mothers at the party about 
her child and how she was raising her. 

Speaking of young mothers, Sallie 
Eilers hasn't been going about at all 
since her baby was born, that is, until 
very lately. But she did appear at the 
parties given by Rosie Dolly and Eman- 
uel Cohen. So she's making up for lost 
time. 

ALICE BRADY has a story for every 
•** hour of the day, and all prizes, 
too. 

That was a funny one she told at the 
party which Louis D'Arclay. actor- 
artist, gave for her at his Beverly Hills 
home. 

It seems that Helen Mencken's 
mother is deaf and dumb. Alice had 
learned to talk on her fingers when she 
attended school. So when Mrs. Mencken 
became ill, and nobody was allowed to 
see her, Alice secured admittance to 
the room on the understanding that she 
would be very serene. She stayed in 
a long time, and finally some one came 
to peep in to see what was happen- 
ing. 

They found Alice telling Mrs. 
Mencken funny stories by means of the 
sign language, with the invalid in 
stitches of laughter! 

Then Alice told about how W. C. 
Fields and Frank Craven were discuss- 



ing golf at her home one night, and 
when Craven asked Fields if he swore 
on the course, Fields answered: 

"No, I never get profane, but where 
I spit the grass never grows again!" 

XTORMA SHEARER had her for- 
^ tune told at the party which Leila 
Hyams and Phil Berg gave on the oc- 
casion of Phil's birthday. When Norma 
emerged from the ordeal she was 
smiling. 

"The room was quite dark, and the 
fortune teller didn't recognize me," she 
said. "She told me I had acting as- 
pirations, but that I'd probably never 
be really successful!" 

PDWARD G. ROBINSON gave a 
^- J party for a number of famous Rus- 
sians, including Rouben Mamoulian, 
Richard Boleslavski, Constantino Ba- 
kalienova, and others. He solicitously 
provided vodka for his guests — and not 
one of them drank it! All preferred 
the native American poisons. It is only 
since coming to this country that Anna 
Sten has learned to play ping-pong. 
She is quite rabid about the game. 

At the party which Mr. and Mrs. 
Harry Lachman gave, Miss Sten and 
Carl Laemmle, Jr., played together con- 
tinuously after dinner, Miss Sten win- 
ning most of the time. 

T^RED ASTAIRE is a shy bird. He 
A ducks all the parties he can, and 
even his charming young society wife 
can't drag him to them very often. 

The two were invited to Dolores Del 
Rio's for tennis. But when he found 
he was to meet a lot of people he 
didn't know, he and Mrs. Astaire fled 
over to the home of their friends, Mer- 
ian C. Cooper and Dorothy Jordan. 

Nevertheless, a goodly crowd assem- 
bled and swatted the ball across the 
net at Miss Del Rio's. 

W T illiam Powell arrived early, but 
Jean Harlow was late, because she was 
working on her new book entitled 
"Today Is Tonight." 

"^TILS ASTHER sent some cables, 
^ from which we learn that he will 
visit Turkey before he returns from 
Europe and Asia; will spend Christmas 
with his mother in Sweden; wants 
plumbers engaged for his house in Lon- 
don, and will stay over there indefi- 
nitely; Donald Crisp and Jane Murfin 
have bought a yacht for a cruise in the 
South Seas; Katharine Hepburn is 
sporting these days a hat, scarf, and 
gloves of green and black plaid velvet 
with a black wool suit. The pants seem 
to be permanently parked. Grab-it-off 
dinners (in nicer words, buffet) are the 
rule in Hollywood where there are more 
than fifteen guests, but Clark Gable 
"extended himself," as the French say, 
and gave a sit-down dinner to twenty 
guests. Included among those present 
were Gloria Swanson and Herbert Mar- 
shall, Mr. and Mrs. Richard Barthel- 
mess, Sam Goldwyn and Mrs. Gold- 
wyn, Mr. and Mrs. Irving Thalberg, Mr. 
and Mrs. Donald Ogden Stewart and 
Douglas Fairbanks, the guest of honor 
being the Countess di Frasso; Gloria 
Swanson took her two older youngsters 
to a kid party, and played games with 
the youngsters; Marlene Dietrich and 
Rouben Mamoulian dined and danced at 
one of Hollywood's night spots; Mau- 
reen O'Sullivan and Johnny Farrow met 
Maureen's dad at the train when he ar- 
rived in Hollywood; Conchita Monte- 
negro has grown two inches since she 
came to Hollywood three years ago. 



58 



The New Movie Magazine, February, 1935 



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Millions Have Found 
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TEARTBURN is distress- 
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Strong, water-soluble 
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may change the_ stomach juices completely — 
slowing up digestion instead of helping it. 

The new, advanced, most effective and safe 
relief for acid stomach is TUMS. TUMS con- 
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instead this candy-like mint contains an un- 
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kidney poisoning from TUMS. 

Try TUMS— 3 or 4 after meals, when dis- 
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grateful for the wonderful relief. 10c a roll at 
all drug stores. 3-roll carrier package, only 25c. 

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Ordinary creams or lotions only cover ihem 
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aitciXook. IO 
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Sitting on Top of 
the World 

{Continued from page 40) 

very much. Occasionally, I entertain 
with a small dinner followed by con- 
tract but usually it is just the boys 
who drop in informally and we thrash 
out everything — the last fight, the foot- 
ball scores and, of course, every phase 
of pictures." 

Though he doesn't drink, many of 
his friends do and he has a small bar 
opening off the dining-room and again 
the buying bug has prompted an 
extravagant outlay of glasses and an 
odd cocktail shaker. 

A competent servant keeps the do- 
mestic wheels running smoothly but 
Raft plans the dinners when he is to 
be home — simple he-man meals of steak 
or roast beef, baked potatoes and other 
vegetables. No sweets. But he likes 
stewed pears and says he could enjoy 
them for dessert every night of the 
year. 

"Here's the real bait of the pent- 
house," he said, as he proudly ushered 
me into another large patio at the rear, 
beyond the kitchen and servant's 
quarters. "This is my outdoor gym- 
nasium where Mack and I do our 
training. I've ordered a ping pong 
table so it is likely to become a 
playroom, too." 

From the entrance hall we went 
upstairs to the bedroom on the floor 
above. There are three, with two 
bathrooms, George's, a guest room with 
twin beds, and Mack's. 

George occupies the large front, room 
with three windows to the south and one 
to the west. 

"No one hates to go to bed more 
than I, there are always so many 
excuses for staying up. The next 
thing I hate worse than going to bed 
is getting up in the morning. Mack 
comes in and wakens me with dire 
threats but it usually takes his third 
visit and a wrestling match to get me 
out of bed." 

His greatest extravagance is clothes, 
he loves them and he buys in quanti- 
ties. His preference is blue and gray 
for suits with everything to harmonize. 
He has excellent taste with the real 
flair of the well-dressed man. 

Such orderliness as his closets re- 
vealed. In one hung rows and rows of 
coats, with several racks flashing many 
beautiful ties. In another closet were 
the trousers and his shoes. Also, bath- 
robes of every style and color, and 
pajamas — dozens of them, mostly of 
black satin. 

His dresser drawers are another 
exhibit for he keeps his blue shirts in 
one, the white ones in another, the 
tans and browns in still another — and 
there's not a wrinkle among them. 

As we returned to the living-room 
I was conscious of a definite homey 
atmosphere. Perhaps George's own 
friendliness animates his surroundings. 
There is no put-on with him and he 
never forgets the old friends. He is 
always courteous and thoughtful 
whether it be with the prop boys, the 
store clerks, his own employes or the 
highest studio officials. 

As we chatted, George, Mack and I, 
we touched many subjects, Mack told 
me that George never misses the 
weekly fights, nor a ball game when 
it's possible to make it. If he's work- 
ing he frequently takes in the night 
games. 

Seven phones keep George in touch 
with the outside world. 

"I believe in living Today and not 
planning too much for a future that 
may never catch up with us," he said. 




MIRROR FRESH 



WITH MARVELOUS FACE POWDER! 




WHEN your big moment comes, 
will you grab for your powder 
puff, long for a mirror — be fussed and 
nose-conscious — and spoil it? 

Or, will your complexion be mirror 
fresh — as soft and lovely as it was when 
you left your mirror? It will — if you're 
wearing Marvelous! 

Marvelous Face Powder is a Richard 
Hudnut product — made with a brand- 
new ingredient never discovered for 
powder before. It makes the powder 



cling longer than any powder you ever 
tried. 

Don't take our word for it — take 
our samples! Four boxes — they cost 
you nothing (a mere 6^ for postage 
and packing). They come in four shades 
— there's a coupon, clip it! 

Or don't wait for the postman. The 
name is MARVELOUS. The maker is 
Richard Hudnut. The price — for the 
full-size box — is only 55^. Drop in at 
the nearest drug or department store! 



/Uu /Jidcovefa/ 



BY RICHARD HUDNUT 






NOW MAKES FACE POWDER STAY ON FROM 4 <£ 6 HOURS 

(BY ACTUAL TEST) 



m A R V € L O- U S 




FREE — Marvelous Make-up Guide — 

7 and FOUR generous trial boxes of four 
popular shades of Marvelous Face Pow- 
-ffiZA/J ' der. Mail coupon now! 

~~ — " "~ " ~~ ~~" ~~ "~ _ " "" ~~H^4 

JRICHARD HUDNUT, Fifth Avenue, New York City. 

lwant to try Marvelous. Send me the four trial boxes and 
Make-Up Guide. Here's 60 for packing and postage. 



ADDRESS - 
CITY 



(AM NOW USING- 



. POWDER. ) 



The New Movie Magazine, February, 1935 



59 




WAS RIGHT 



• • • 



Recommended by 

more than 7000 

dentists 



If You Want a dazzling smile and firm, strong, 
beautifully clean teeth, be careful of what you 
put in your mouth. Your doctor prescribes salt 
as a gargle, your dentist prescribes salt as a 
mouth wash — and that is why salt forms the 
base of this new Worcester Salt Toothpaste. 
No wonder more than 7000 dentists now rec- 
ommend this remarkable new paste to their 
patients. It gives you all the great benefits of a 
scientific salt solution in handy pleasant tooth- 
paste form. It stimulates circulation in the 
mouth tissues and heals tender gums; it cleanses 
your teeth beautifully and safely; and its salty, 
tangy, exhilarating taste leaves your mouth and 
breath delightfully clean and refreshed. Try a 
tube. See for yourself. 

Money back guaranteed if not delighted! 

Order a tube today. 35c in the large size, 10c in 
the guest size. If you do not find Worcester Salt 
Toothpaste the most beneficial, delightfully 
refreshing dentifrice you have ever used, we will 
refund your money. Is that fair? 

FREE— Lucky Elephant Charm 

4|hW Clip this ad and paste it (with your 
*\Maim address) to the empty box from a 
M M 35c size tube of Worcester Salt 
^ Toothpaste. Mail to us and get free, postpaid, 
little imported Lucky Elephant 
Charm to always carry with you. 
Address Dept. 80, Worcester 
. Salt Company, 40 Worth St., 
New York, U. S. A. 



SPECIAL NOTE: If you cannot get this new Worcester 
Salt Toothpaste at your favorite drug counter, send 
us the firm's name with the 35c and your own 
address. We will mail you postpaid both the tooth- 
paste and the Lucky Elephant Charm. Worcester Salt 
Company, 40 Worth Street, New YorkCity, Dept. f~ 





Magazine for younger children offers new big profits. 



It will pay you real money to inves- 
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plan. Commissions are very gen- 
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to devote either full or spare time 
to selling Tiny T©wer subscriptions. 
See the inside back cover of this 
magazine for a fuller description of 
this popular children's magazine. 
There is no other national magazine 
for younger children like Tiny 
Power . . . Teachers, Parents and 



Children every where want it! 
Tiny Tower is now in the same 
larger size as this magazine you are 
reading . . . It's more desirable 
than ever! 

Write today for information 
how to increase your income 
with real profits. 

•Olive Reid 

TINY TOWER MAGAZINE 

55 Fifth Avenue New York, N. Y. 



HUM -UP BOX 

REVEALS THREE IMPORTANT WAYS AND MEANS TO BEAUTY 



NEW LASHES FOR OLD: We've 

been rushing about with long, sweeping 
lashes feeling very much like Joan 
Crawford and it's all because of those 
perfectly grand artificial eyelashes. 
Fact is, readers have been asking so 
many questions about them . . . how 
they are applied, where they can be 
bought, how long they last, how much 




they cost . . . that we just dropped 
everything last week, dashed uptown 
and did a bit of research. Well, the dif- 
ference that a thick fringe of eyelashes 
can make is astonishing. They give the 
eyes more depth, more expression, more 
allure. All you need is good light, a 
steady hand, plenty of time, and, of 
course, the box containing the lashes 
and two little bottles. The lashes are 
soft and glossy and come in black and 
brown and the bottles contain fluids 
for applying and removing. Now,, just 
a word of caution: Be sure that after 
you have applied the lashes, you trim 
them following the natural curve of 
your own for if it is obvious that they 
are artificial, your best beau or doting 
husband will set up a dreadful din. 
So be a "smoothie," trim them neatly, 
and you'll have a heavenly time gazing 
soulfully at him and he'll never suspect 
you of employing artificial wiles but 
will wonder why he never noticed your 
alluring eyes before. 




OH, THOSE PORE HERBS! Large 
pores are the besetting evil of most 
American women's complexions today 
and few escape them. In Switzerland, 
women are famous for their complex- 
ions and the secret lies in the use of 
rare herbs which grow on sunny Swiss 
mountainsides. These herbs are picked 
when richest in their curativa qualities. 

Presented to American wd^n for the 



first time are products whose basic in- 
gredients are precious natural herbs. 
Because soap-and-water is recognized 
as such a vital part of cleansing, start 
with a nice soapy lather to remove 
grime and dust. Then comes the herb 
baume, a compound of natural herbs. A 
thimbleful spread over the face with 
the fingertips and left on overnight helps 
refine pores, arrest lines and soften the 
skin. There is also an unperfumed 
powder for those addicted to one scent 
and reluctant to use another. The 
cleansing lotion for daytime is a clear 
amber liquid with a fresh herbaceous 
fragrance which removes all traces of 
make-up and leaves the skin fresh and 
clear. 

AN OLD ROMAN CUSTOM : Years 
ago when Rome was in its glory, men 
and women went to the baths together. 
The men wearing fancy costumes, the 
women clad in long, flowing gowns and 
carrying little wooden bowls containing 
sweetmeats and perfumed oils. Today, 
sophisticated women, aware of the 
power of perfume to stir the senses, 
use an essence which softens the water 
and scents the bath and body with a 
mystifying fragrance. 




The bath essence pictured has the 
fresh, delicate and elusive scent of flow- 
ers drenched in the rain. A few drops 
in your bath has a tonic effect on the 
nerves and penetrates each pore with a 
haunting perfume that lingers for hours. 

Now, exercise to ward off crow's 
feet, worry lines, and saggy chins. All 
you need invest is five cents (yes, five 
pennies) and a few spare moments. 
This month's circular tells how. . . Have 
you heard about a set for make-up 
and costume harmony? It contains 
eight shades of rouge and lipstick so 
you can experiment to your heart's con- 
tent. . . Next month we're investigating 
the artificial fingernail sit-chee-ation, 
some fun! 

Anything 
you'd like dis- 
cussed in these 
columns? Just 
drop a line to — 



WOojuSLm 



If you would like further in- 
formation about the articles de- 
scribed, and other beauty news, 
write enclosing stamped en- 
velope to the Beauty Editor, 
Make-Up Box, Tower Mag- 
azines, 55 Fifth Avenue, New 
York, N. Y. 



60 



The Nexo Movie Magazine, February, 1935 




SKOUR-PAK 

A Superior Scouring 
Brush of Steel Wool 



# Protects fingers from scratching — you 
don't touch the steel wool! 

# Scours more efficiently — gets into the 
corners — is easier to handle! 

# Keeps clean. Skour Pale's steel wool 
is treated to resist rust. 

# The rubber holder peels off as more 
steel wool is needed. One Skour-Pak 
outlasts two big boxes of ordinary 
steel wool. 

Sold at 5 and 10 cent stores, Grocery, 
Hardware and Department stores . . . 

IUUGWAYS, Inc. 60 WARREN ST., N. Y. C. 



Dress up your kitchen with new towels, 
pot holders, stenciled food containers, 
etc. Send 10c for diagram pattern to 
Frances Cowles, Tower Magazines, Inc., 
55 Fifth Avenue, New York, N. Y. 

High School 

Course in 

2 Years 

_ plete your High School education et home — in 2 

f tears or less. Course meets all requirements for entrance to col- 
ege and leading- professions. Standard H. S. texta supplied. 
Diploma awarded. Full credit fur H. S. subjects already com- 
pleted. Send for Free Bulletin TODAY. No obligation. 
American School, Dept.H-290; DrexelatSSth, Chicago 

Out al HOLLYWOOD 



V 




You . 



CW/m a /TZ^eNAIL ft 
POLISH U 
GLORIFY & 
YOUR 





<r- 



MOflH €160! 

m 




MEDIUM 



u/ 



moon clous 

Here is the nail polish you've been hearing so 
much about — made popular by stageand screen 
stars in Hollywood. Moon Glow Nail Polish 
is a new blend — applies more smoothly, sets 
more lustrously. In six splendid shades from 
the delicate to the daring. Scientifically per- 
fected so as not to chip, peel, crack, fade or 
streak. And economical — larger bottle, lower 
price. 25 cents at the better toilet goods coun- 
ters. Send coupon and 10 cents for generous 
trial bottle. {Moon Glow Oil Polish Remover is 
the latest treat for the nails. ) 



Moon Glow Cosmetic Co. Ltd., Dept. T25 

Hollywood, Calif. 

Please send generous trial bottle Moon Glow Cream Polish. 

I enclose 10c (coin or stamps) for each shade checked, 

( I Natural ( ) Medium ( ) Rose ( ) Blood Bed 

( ) Carmine ( ) Coral. ( ) Oil Nail Polish Remover. 

Name 

St. and No . . 

City State 



Hollywood 
Day by Day 

{Continued from page 35) 

in the neighborhood are looking wan and 
haggard from hopping off the roost at 
all hours of the night in response to 
their synthetic "master's voice." 



LTURRYING off the "Good Fairy" 
■*■ ■* set, Margaret Sullavan climbed in 
her car, stepped on the starter, shifted 
into low and nothing happened 1 . 

The big car just wouldn't budge an 
inch, and, after jiggling two or three 
gadgets, the perplexed Margaret got out 
and walked around to see what was 
what. 

The "what" proved to be a jack under 
her rear axle, and, as soon as she saw 
it, Miss Sullavan knew right away that 
the culprit was a property boy with a 
fine flair for practical jokes. 

Next day, it was pretty hot, and, 
about the middle of the afternoon, 
Margaret ran out for a cold drink, re- 
turning with a big ice cream cone for 
the flustered property boy. 

The first two bites were swell, but 
after the third, "props" made a Mr. 
Hyde face and dashed for the great out- 
doors. 

It seems that Margaret's gesture of 
"vendetta" was salt, and plenty of it! 
And me thinks it'll be a long time before 
that particidar prop boy will get smart 
with anybody else I 



FOR ten solid weeks on the "Night 
Life of the Gods" set, Geneva Mitchell 
knit . . . and knit . . . and KNIT, between 
shots. 

Catching her at it half a dozen times, 
our curiosity finally got the better of us. 
"What's she knitting, anyhow?" we 
asked Lowell Sherman, her director. 

"I'm not sure . . ." he whispered con- 
fidentially, "but I think it's a tent for 
the preview!" 

• 

GARY COOPER gets a great kick 
out of duck hunting and sneaks off, 
as often as he can dodge engagements, 
to pot the icily critters. 

On his last trip, Gary drew a bead on 
one of the biggest ducks he had ever 
seen. Bang! Bang! and the bird went 
into a tailspin. 

A split second later, our intrepid 
hunter bit the dust, knocked sideways 
by what he thought was a tarred and 
feathered cannon ball. As soon as he 
got his bearings, imagine his chagrin 
when he discovered that the "duck" he'd 
just shot was an eagle with a seven-foot 
iving spread! 

• 

KNOWING Baby LeRoy's weakness 
for tweaking noses, Jimmy Du- 
rante was more than a little relieved 
when the miniature nose-tweaker was 
pulled out of the cast of "Carnival" and 
cute little Dickie Walters substituted. 

How young Dickie got the part is a 
story that would do Ripley's heart good. 

Bill Perlberg, a casting director, was 
driving in from the beach when a little 
boy dodged out in front of his car. 
Slamming on the brakes. Bill got out to 
see that the kid was quite unharmed. 

Hurrying around to the front of the 
car, he looked anxiously down at young 
Dickie (for it was he, no less!). And 
Dickie, looking right back at him, mur- 
mured, most nonchalantly: "Fancy 
that!" 

Bill was so relieved and amused that 
he made an appointment to test the 
child, and . . . you know the answer. 
(Please turn to page 62) 



0, 










£LS 



FAOEIwiVE TRIED MID ALL 




says Beatrice Hudson, New York model 




-ANY expensive perfumes had in- 
:riguing scents, it is true, . . . but what I wanted 
was something different, says Beatrice Hudson, 
famous New York model. FAOEN (with its 
$1 to $3 quality) was different! It actually 
transformed my personality, gave me an en- 
tirely new charm and sense of power! 
Haunting, sophisticated . . FAOEN turns you 
from an attractive woman to an irresistible 
one! Men are enchanted by its mysterious 
fragrance! 

'FAOEN has made thousands of smart women 
more desirable. 

In a compact ten-cent size at all F. W. 
Woolworth stores. 



PAKK 6-TILFOKD'S 



FAOEN 

O IN I) 



( F A Y - O N ) 




Face Powder • Lipstick • Cleansing Cream • Cold Cream • Rouges • Perfumes 



The Neiv Movie Magazine, February, 1935 



61 



<& 



is for Freshness 



Vegetables grown especially for baby 
Watched over from seed to harvest by Gerber. Picked 
at the moment of perfection. Rushed to the cannery, 
where only the choicest go into Gerber cans. 



<& 



is for Choiceness 



Only the cream of fresh-picked vegetables is 
selected for Gerber cans. Sorted by women in snowy 
uniforms. Washed in clear artesian water. 



^ 



is for Vitamins 



Conserved to a greater extent by Gerber 
processes, which during pre-cooking, straining, can- 
ning and steam-cooking in cans exclude the oxygen that 
causes vitamin loss in open-kettle home cooking. 

is for Minerals 

Preserved to a higher degree by Gerber 
methods. Vacuum cooking regulates moisture and re- 
tains mineral salts poured off in water at home. 



^ 



is for Flavor 



Retained in greatest measure by the new 
Gerber patent-applied-for Shaker-Cooker. Vegetables 
are stirred throughout steam-cooking in sealed cans. 
Protects fresh flavor, taste and color. Insures uniform 
cooking of every particle. Gives more complete steri- 
lization without overcooking. 



^ 



is for Straining 



Gerber strains through monel screens, five 
times as fine as kitchen sieves, removing more indigest- 
ible fiber, making vegetables safer tot baby. 

<A}V is for Uniformity 

^4^^ Every vegetable scientifically prepared. Cook- 
ing times and temperatures pre-determined and accu- 
rately regulated. Baby gets, in season and out, the best 
vegetables — uniformly prepared — standard in quality, 
consistency and flavor. 



<%> 



is for Approval 



Accepted by American Medical Association 
Committee on Foods. Prescribed by thousands of doctors, 
who have observed the wholesome benefits to hundreds 
of thousands of babies of these "better for babies" 
Strained Vegetables. 

• • • 

Better For Mothers, Too 

Baby gets a complete variety of vegetables, summer and 
winter. No tedious cooking and straining. Mothers are 
freed of hours of daily drudgery. Doctor's instructions 
can be carried out more accurately and scientifically. 
Vegetables are unseasoned, so that they may be served as 
they are, or seasoned slightly as taste or the doctor directs. 

Your Store's Baby Department - 

When shopping look 
for the Gerber line. 
It means "Baby Head- 
quarters." 

Strained Tomatoes . . . 
Green Beans . . . Beets 
. . . Vegetable Soup . . . 
Carrots . . . Prunes . . . 
Peas . . . Spinach . . . 4K- 
oz. cans. Strained Ce- 
real . . . lOK-oz. cans. 

Ask Your Doctor ^mj 



Mothers! Here's help for you, if 
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telling how to establish whole- 
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Gerber Products Company 
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Please send me free copy of 'Meal- 
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Hollywood 
Day by Day 

{Continued from page 61) 

JOHN BEAL has an unusual good 
** luck talisman. While on location 
with "The Little Minister," he was ac- 
cidentally stuck by the sword of an 
extra in the vein just at the right of his 
eye. 

Superstitious as anything, John keeps 
the stitches, taken from the wound, in 
a gold locket which he carries with him 
constantly, thinking to ward off any 
further injuries. 

And if that really helps, then Victor 
MacLaglen should tote his tonsils 
around in an old aspirin box, because 
he's been in the hospital with a bad case 
of laryngitis from yelling "Sez you!" 
at Edmund Lowe, in their newest pic- 
ture ! 



HpHE Old Soldiers' Home, in Sawtelle, 
is one long buzz of reminiscence 
since the blessed old-timers were invited 
to act in Columbia's "Call to Arms." 

The way those Union and Confederate 
pappys polished up their brass buttons 
and pressed those blue and gray uni- 
forms was a caution. Gettysburg, Bull 
Run and San Juan Hill were side shows 
compared to the fun they had doing their 
stuff before the cameras. 



\7~EARS ago . . . well, not too many 
years ago . . . when Edward Everett 
Horton was on the stage, a little black- 
eyed chap was wrasling scenery and doub- 
ling in brass at the theater where Hor- 
ton played. 

The kid's name was Ramon Novarro 
and today, he and Horton are pals of 
the first water. 

The other evening, Eddie invited Ra- 
mon over to his house for a home-cooked 
dinner and Novarro is still raving about 
the home-baked bread, roast and gravy, 
and all the other tasty dishes cooked up 
by the inimitable Horton! 



TTRED KEATING is watching for his 
" first picture with keen anticipation. 

During the making of "The Captain 
Hates the Sea," Fred lost in the neigh- 
borhood of twenty pounds, and knowing 
the strange technique of picture making, 
Fred is wondering . . . ? 

On Monday, they shot a scene where 
Fred is shown leaving a room. Then, 
possibly four weeks later, they get 
around to the shot that shows him 
emerging into another room on the other 
side of the door, presumably a split 
second later. 

"I have a reputation for legerdemain," 
Fred grinned, "but, when the audience 
sees me go in a door weighing 165 
pounds and come out weighing 140 . . . 
well, they'll never believe it!" 



TfROM our NEMO-Nook on the fifth 
■*■ floor, we watched Norman Foster park 
his brand new Ford coupe smack on the 
red line while he dashed into the Gotham 
for an armful of his favorite delicatessen. 

Because of the noon rush, we guess he 
must have had quite a time getting ser- 
vice, because, fifteen minutes later, when 
he finally came out, there was a brawny 
Boulevard cop with one foot on the run- 
ning board, earnestly writing out a you- 
know-what! 

Norman grinned sheepisly, stowed the 
groceries and, after a ten-minute chat 
with the law, drove away, still grinning 
sheepishly, but with the nasty ticket 
tucked in his vest pocket! 



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Listen to Pat Kennedy, the Unmasked Tenor 
and Art Kassetl and his Kassels-in-the-Air 
Orchestra, every Sunday, Monday, Tuesday, 
Thursday and Friday, 1:45 p.m. Eastern Stand- 
ard Time, Columbia Coast-to-Coast Network 



TTfHEN Freddie March returned from 
"' his two-month cruise in the South 
Seas, he took one look at the stacks of 
mail that had accumulated in his absence 
and dashed for cover! 

Waving a very nice picture contract, 
Missus March inveigled him out of hiding 
and, at last reports, Freddie had worn 
out six fountain pens and borrowed the 
neighbor's to finish up! 

'TPHERE are lots of reasons for di- 
A vorce, but Mrs. Chick Chandler's is 
the pay-off! 

Chick, it seems, is a bee connoisseur, 
which is quite all right in its place. But 
during the last rainy spell, Chick got 
up at 2 a. m., carefully brought in all 
the hives and put them in the living- 
room! 

That was bad enough, but, with the 
living-room overcrowded, he stowed the 
remaining hives in the BEDROOM! 
And Mrs. Chandler couldn't quite 
take it. 

However, if Chick will just build a 
rain-proof shelter for his buzzy friends, 
all will be well, and no Reno to worry 
about. 

• 

jV/fERVYN LEROY, that clever little 
-L'-l director whose passion for his art 
led him into many a day's overtime, now 
quits the studio promptly on the dot of 
five each afternoon. 

"I'm still on my honeymoon," he firmly 
announced to his gasping co-workers. 
"The little woman expects me and I 
won't disappoint her!" 

And, as Mervyn hopes that the pend- 
ing expectancy will be a boy, let's hope 
the 'little woman' won't disappoint him! 

/JFTER completing a sound recording 
■*-*■ that was so swell that the onlookers 
applauded enthusiastically, Joe Morrison 
was leaving the set. 

A cocky extra (one of those smart guys) 
upped to Joe and very sarcastically re- 
marked: 

"Well, d'you think you'll ever amount 
to anything?" 

Joe gave the fellow a thorough once- 
over. "Oh, I don't know," he said seri- 
ously. "But, if I don't, there'll be one 
consolation . . . I'll have plenty of com- 
pany!" 

• 

TJ/ r HEN Clark Gable isn't duck hunt- 
"^ ing, he's deer hunting. Or bear 
hunting. Anyhow . . . hunting. 

He just returned from a hunting trip 
in Idaho and, before he could get out 
of his hunting britches, Leo Carrillo and 
Jack Conway grabbed him by the tail 
of his coonskin cap and dragged him off 
to Mexico to see how good he was at 
fishing! 

Next month, we'll tell you about the 
one that got away . . . 
• 

AFTER spending hours on the "Gay 
Divorcee" set, Katie Hepburn was so 
intrigued with the dancing of Fred 
Astaire that she hired his dancing in- 
structor to give her lessons in tap danc- 
ing! 

.You can't stop our Katie, and, in spite 
of a dozen gypsy petticoats, the gal goes 
through her "Turkey in the Straw" rou- 
tine with all the fervor of a potential 
Pat Rooney! 

• 

TJ/'ELL, kiddies, this hasn't been a 
'' very exciting month. But, with 
the bow and arrow we got from Santy, 
Poppa NEMO is goin' up in them thar 
hills and run down a lot of snappy items 
for your edification next month. 

And, if you haven't broken Junior's 
electric train by this time . . . keep 
tryin' ! 

We'll be seein' you! 



62 



The New Movie Magazine, February, 1935 



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On the Set with 
Coming Pictures 

(Continued from page 6) 

staggering bill for the show, discovers 
that her pet son, Frank McHugh, has 
secretly married the hotel hostess, and 
half a dozen other minor shocks, she 
decides that it might be just as well to 
have a doctor in the family to pull her 
out of her fainting spells! 

Hugh Herbert, Winifred Shaw and 
Dorothy Dare add plenty to the action. 



ONE HOUR 
EATE 

PARAMOUNT 



Not to be out- 
done, our old 
Grand Rapids 
pal, Joe Morri- 
son, joins the 
vocal parade and throws a few high 
notes up for "grabs," in Libby Block's 
interesting story of life in an office 
building. 

Joe is in love with Helen Twelvetrees, 
but, because Helen displays a sympa- 
thetic interest in her boss, Conrad 
Nagel, whose wife, Gail Patrick, neglects 
him to fool around with Ray Milland, 
Joe goes off in a huff and asks Arline 
Judge to marry him. 

Angry at his failure to understand, 
Helen decides to even matters by spend- 
ing the week-end with Nagel, in the 
country. 

Comes quitting time and the usual 
five o'clock rush for the elevator . . . 
and matrimonial complications. 

Joe, Helen and Gail are in the ele- 
vator with three other interesting per- 
sonalities when . . . Crash! . . . 
Bang! ... a cable breaks and the 
safety catch stalls the lift between the 
fifteenth and sixteenth floors. 

There's a breath-taking minute while 
Joe wriggles through the trap door to 
slip the catch, singing all the time to 
keep up his courage. 

One of the passengers is owner of a 
radio station, and when he hears our 
Joe . . . well, you just know that the 
lad gets a contract and all ends well 
for everybody. 

We watched them shoot the last scene 
for the picture, where Joe, resplendent 
in tails and a wing collar, warbles his 
theme song, "This Must Be Paradise," 
into the microphone of the KLR broad- 
casting station. 

Behind the cameras, the "real" or- 
chestra plays softly, while, behind Joe, 
synthetic musicians go through the mo- 
tions on dummy instruments. And you'll 
never know the difference! 

On the sidelines, Sam Coslow, com- 
poser of the piece, listened raptly while 
Joe drew superb harmony from his 
lovely melody. 

Director Ralph Murphy stood with 
eyes closed, absorbing the rhythm while 
he figured out the romantic action that 
must accompany the finale. 

And we just sat there, full of pardon- 
able pride that a lad from our home 
town had made the grade in Hollywood ! 



ENCHANTED 
APRIL 

RKO 



April in Paris 
may have its mo- 
ments, but 
Elizabeth Russell 
saw more ro- 
mantic possibilities in an Italian setting. 
Hence, her very charming novel on 
marital digression . . . and what spring- 
time in Italy can do about bringing 
obstreperous husbands to their so-called 
senses. 

When Ann Harding's stuffy husband, 
Frank Morgan follows his wife's ad- 
vice and writes a book, all about the 
naughty ladies of history, the thing goes 
over so big that it can only be com- 
(Please turn to page 64) 



DO BRUNETTES LOOK 
OLDER THAN BLONDES 






THE ANSWER IS THAT 7 OUT OF 10 BRUNETTES 
USE THE WRONG SHADE OF FACE POWDER! 



• RY 




a/\ 



UA 



If there's one thing women fool themselves 
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Many women select face powder tints on 
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Any actress will tell you that certain 
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younger. The same holds true for face pow- 
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It's a common saying that brunettes look 
older than blondes. There is no truth in it. 
The reason for the statement is that many 
brunettes make a mistake in the shade of 
the face powder they use. They simply 
choose a brunette face powder shade or one 
that merely matches their type instead of 
one that goes with the tone of their skin. A 
girl may be a brunette and still have an 
olive or white skin. 



One of Five Shades is the 
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I make Lady Esther Face Powder 
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(If you live in Canada, write Lady Esther, Toronto, Ont.) 



The New Movie Magazine, February, 1935 



63 




• Keep your hair aglow with 
the glory of 'youth . The Sheen 
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friends wonder how you ob- 
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vibrant color tone so necessary 
for beautiful hair. 

If your hair is old or faded look- 
ing, regain its Sheen of Youth 
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doesn t dye or bleach, for it is 
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Also ask for Nestle SuperSet, Nestle 
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On the Set with 
Coming Pictures 

{Continued from page 63) 

pared with the size of Frank's hat-band. 

Losing out to a bunch of lion-taming 
females, Ann strikes up a friendship 
with Katherine Alexander, who's own 
husband has a pretty good opinion of 
himself, and the two of them rent an 
Italian villa, with an eye to letting Na- 
ture take its course, under soft Italian 
skies. 

Infatuated with Jane Baxter, Frank re- 
fuses to go along for a reconciliation 
with the lovely Ann. Katherine's hus- 
band, Reginald Owen, holds out, too, un- 
til he hears that Jane and her wealthy 
aunt have a share in the villa. This 
news brings both the cantankerous hub- 
bies scurrying to Italy. Frank ... to 
be with his "heart"; and Owen to sell 
stocks, or something, to the wealthy 
aunt. 

In spite of bad plumbing, the roman- 
tic atmosphere has its way with the 
lads, and, before the next month's rent 
is due, Love's in bloom and all's well. 

On the set, Owen, with nothing but a 
towel around his middle, staggered, 
gasping, out of a cloud of steam that 
emerged from the doorway of the pre- 
historic bathroom. 

Sputtering like a wheezy motorboat, 
he brushed aside the Italian caretaker 
and his wife who jabbered excitedly, 
and staggered, dripping, into the wide- 
open spaces of the living-room. 

It seems that, not understanding the 
temperament of the antique water 
heater, Reggie had given the thing its 
head, with disastrous results. 

It may amuse you to know that 
Charles Judels, well known for his por- 
trayals of Italian characters, cannot 
speak a word of Italian but gets it off 
so convincingly that few know the 
difference. 

As Owen made his steamy exit from 
the bathroom, Director Harry Beau- 
mont instructed Judels (playing the 
caretaker) to ad lib excitedly. 

Dashing across the set, Judels grabbed 
a real Italian and requested a mouthful 
of dialect. 

"Just anything," he said, "that you'd 
say if you were excited about some- 
thing." 

The Italian started off with something 
that sounded like "boloney spaghetti de 
Dio" or something, and, as Charles re- 
peated it carefully, an executive leaped 
into the air, shouting: "No 'Dio'! . . . 
absolutely no 'Dio'!" 

So Mr. Judels was obliged to turn in 
the "Dio" for something less profane. 
And, such is life out here on the west- 
ern front! 



When a famous in- 

FATHER ternational crook falls 

BROWN, in love, hang onto 

DETECTIVE your bridgework, 

. folks! 

PARAMOUNT For love of Ger- 
trude Michael, Paul 
Lukas sets out to get a corner on ten 
priceless diamonds, known as the Fly- 
ing Stars. He figures that if he presents 
them, along with his heart and hand, 
to the girl of his dreams, his chances 
for a walk down the -old church aisle 
will be that much better. 

In order to make it that much harder, 
Paul gives the police department a 
handicap by telling them what he in- 
tends to do, and right away, everybody 
owning any of the sparklers starts to do 
some plain and fancy worrying. 

Father Brown, played by Walter Con- 
nolly, has four of them in a crucifix, 
and the way he outwits the ambitious 
Lukas leads us to wonder if he didn't. 



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get his training for the priesthood in 
some department of Scotland Yard? 

Close by, Lukas, always the serious 
fellow, studied his script, utterly oblivi- 
ous to the hilarity going on all around 
him. Determined to eradicate every 
trace of his charming accent, Paul re- 
fuses to converse in his native tongue. 
Even fellow Hungarians must stick to 
the English of it if they would have a 
word with the romantic Lukas. And, 
is Paul ka-razy about our good old ham 
and eggs ! And fried potatoes ! ! 

Director Edward Sedgwick has some 
rare ideas of his own about American 
cuisine and, between scenes, that boy 
carries on in a manner that wouldn't do 
a starving Armenian any good! 

And ... oh, yes . . . before we forget 
it entirely . . . Gilbert Chesterton wrote 
the story of "Father Brown, Detective." 

In spite of dust 
LIVES OE storms, terrific heat, 

A BENGAL temperamental leop- 

LAXCER arc ^ s an d what-have- 

# you, this production, 

PARAMOUNT from the novel by 

F. Yeats-Brown, is 

nearing completion, and crew, cast, and 

Papa Paramount are all set to indulge in 

one big collective sigh of relief. 

In order to have it letter perfect as 
to detail, Director Henry Hathaway 
spent two years of intensive research in 
India, and the filming there of actual 
scenes by Ernie Schoedsack form the 
background of the picture. 

The Paramount ranch was turned 
into an exact reproduction of the 
Lancers' Headquarters in India, and, 
while some three hundred horsemen put 
their gallant steeds through a sort of 
drill formation, Gary Cooper and Henry 
Wilcoxon raced their own animals over 
five-foot hurdles, and without a cas- 
ualty, either. 

The story is a simple one. Sir Guy 
Standing, colonel of the regiment, is 
displeased when his own son, Dick 
Cromwell, is sent to join the company 
as a replacement. So as not to be ac- 
cused of partiality, Sir Guy bends over 
backwards to discipline Dick even more 
drastically than he does the others. 

Smarting under the stiff treatment, 
and feeling that his father cares noth- 
ing for him and is merely trying to hu- 
miliate him, Dick deserts and wanders 
into the enemy's camp where he is 
forced to reveal the movements of his 
father's troups. 

Sympathizing with the kid, Gary 
Cooper and Franchot Tone go after him 
to bring him back. About the same 
time, the enemy attacks and, in the 
ensuing battle, Gary is killed. 

Tone and Cromwell are decorated as 
heroes, and Dick is reconciled with his 
father. 



GILDED 
LILY 

• 
PARAMOUNT 



The title of the 
story, by Melville 
Baker and Jack Kirk- 
land, is tentative, as 
yet, and we're sorry 
about that, too. It's plenty exasperating 
to sit around waiting for a certain pic- 
ture to come to town, only to find that 
you've missed it altogether because the 
title has been changed at the last 
minute. 

There ought to be a law. . . . 
Claudette Colbert, getting back into 
her clothes after taking off "Cleopatra" 
(and nicely, too!), plays a hard-work- 
ing stenographer, who chases her "blue- 
beard" clear to London, only to find 
that it's been sitting right on a park 
bench all the time! 

Every Thursday, by mutual consent, 
Claudette and Fred MacMurray, a 
newspaper reporter, meet at a certain 
bench in Central Park, where they 
munch peanuts and talk about life and 
stuff. 



64 



The New Movie Magazine, February, 1935 



On the Set with 
Coming Pictures 



We snuck up on 'em the other day, 
and their conversation went something 
like this: 

"Love me?" Fred says. 

"No," Claudette says. 

"O.K.," Fred shrugs nonchalantly. 
"I just wondered, that's all." 

Silence. 

Then, "What do you think of love, 
anyhow?" 

"W T ell," Claudette smiles dreamily, "I 
know one thing: when I do meet up 
with it, I'll know it right away!" 

"Yes." Fred regards the toe of his 
shoe gloomily. "I suppose so. . . ." 

So our lovely heroine meets Ray Mil- 
land and goes head-over-heels, without 
knowing he's an English lord. 

It's a neat romance until the royal 
family gets wind of it, and then Ray is 
ordered home, pronto. He goes, too, 
jelly-fish that he is, leaving Colbert to 
her "pot-hooks" and park bench as of 
yore. 

Turning press-agent, Ray puts his se- 
cret love on the front pages by publiciz- 
ing her as the "Gal Who Said No to a 
Blueblood," and before you can say 
"wienerschnitzel" Claudette is famous 
and pulling down big money in a popu- 
lar night spot. 

Nursing a publicity complex himself, 
the Britisher comes back to share the 
spotlight with the fair maiden, but all 
of a sudden our Nell goes cold on him 
and returns to the park bench to find 
the "real thing" she's overlooked. 

Neat direction by Wesley Ruggles. 



DAVID 
COPPERFIELD 

• 
M-G-M 



If you have 
not read this 
famous Charles 
Dickens classic, 
you should 
have, and shame on you! 

It's all about a sensitive lad who 
overcomes the bitterness and unhappi- 
ness of his early life; his mother's un- 
fortunate second marriage; the death of 
his first wife; and his ultimate marriage 
to his first sweetheart. 

When his mother's second husband 
turns out to be a brute of the first 
water, young David runs away to live 
with his crusty old aunt, played by 
Edna May Oliver. 

Going to school, he meets Madge 
Evans, daughter of Lewis Stone, and a 
deep affection springs up between the 
two. 

The passing years find David grown 
to manhood (played by Frank Lawton) 
and visiting an old school friend, Hugh 
Williams, in London. 

Forgetting Madge, David meets and 
falls desperately in love with Maureen 
'Sullivan. They are married and re- 
turn to the Stone homestead, where 
David discovers that the pesky Uriah 
Heep (Roland Young), in encouraging 
Stone's bibulous habits, has robbed him 
of nearly everything he owns. 

A delicate young thing, Maureen soon 
dies, leaving David desolate, until, some 
time later, when his early affection for 
Madge ripens into love, and, after ex- 
posing Heep, the two are married. 

"All right, Frank," Director George 
Cukor instructed, "you're packing . . . 
excited over the prospect of going to 
London. Miss Evans . . . you stand 
here . . . watch him . . . make it wistful. 
You love him . . . and he's going away. 
Young," to our Roland, "you're per- 
fectly satisfied that the fellow's going. 
Be smug about it . . . and make that 
speech significant. All right; let's go!" 

So . . . the cameras turn. Frank 



packs excitedly. Madge watches him 
wistfully. Roland is nastily smug. "It 
would be too bad," he speaks signif- 
icantly, "if, in London, our friend would 
forget all about us?" 

"Save it!" says Cukor. And they're 
ready for the next scene. 



I'VE BEEN 
AROUND 



Chester Morris is 
engaged to Rochelle 
Hudson, daughter of 



UNIVERSAL a w e a 1 1 h y L on g 

Islander, and they 
plan to be married. 

But, while Chet is away on a business 
trip, Rochelle meets up with G. P. 
Huntley, Jr., and, because of the feller's 
slick city ways, becomes madly in- 
fatuated with him. 

G. P. is in love with Phyllis Brooks, 
but, because he figures on cutting in on 
the old man's money, leads poor Ro- 
chelle on until Poppa tells him that if 
he marries her, he'll have to support 
himself. 

When he throws her over, Rochelle 
elopes with the delighted and unsuspect- 
ing Chester. But on their wedding 
night she breaks down and tells him 
that it's "no sale" because her heart be- 
longs to Mister Huntley. 

Smarting under the injustice of 
woman's inhumanity to man, Chet goes 
on a glorious toot, painting Europe and 
points East a swell shade of red. 

With time to think things over, Ro- 
chelle sees the light and New Year's 
Eve finds her a lonely and regretful 
lady. 

In the lobby of his hotel, Chester runs 
across his old pal Gene Lockhart. 

"How come you're sober?" Gene 
wants to know. 

"That's the way I'm going to be 
from now on," Chet says gloomily. 

"Honest?" 

"Yeah. You won't have to play 
nursemaid any longer." 

"I'm gonna stay with you tonight, 
though," anxiously. 

"You won't need to." Chet hesitates 
a moment. Then: "You don't happen 
to know where Drue (Rochelle) is liv- 
ing, do you?" 

With a significantly happy look. Gene 
digs in a pocket and produces the ad- 
dress. Thanking him, Chet dashes out. 

In the elevator of her apartment 
house, Rochelle has run across Huntley 
and a gang who insist on coming up to 
her place for a drink. And — just then 
Chester walks in! 

Thinking the worst, he is about to 
leave, when the little woman throws her 
arms around him and tells him what a 
fool she's been. Which helps. 

It's a Gerald Beaumont story with 
Phil Cahn direction. 



DEVIL DOGS 
OF THE AIR 



Land, sea or air, 
Jimmy Cagney con- 



WABMiRS 



tinues to be the con- 
ceited smarty who 
smashes regulations, 
gets in Dutch with everybody and, 
finally, comes out of his cocky tailspin 
to make a perfect three-point landing. 
Jimmy worships Pat O'Brien, a lieu- 
tenant who has obtained a berth for him 
in the Marine aviation corps, until Pat 
reprimands the kid for stunting during 
maneuvers. 

Thinking that Pat has gone high-hat, 
Jimmy decides to get even, and, with 
that in mind, makes a fresh play for 
Pat's girl friend, Margaret Lindsay, 
who resents his smarty ways and doesn't 
{Please turn to page 66) 




Ask any married woman 
who has tried it 

(or send for the booklet "Facts for Women") 



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she will tell you of the great change 
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Never too late to learn 

Your grandmother (and even your 
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But that was before the discovery 
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□ Use of Antiseptics in the Home 



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(In Canada: Sainte Therese, P.Q.) 



The New Movie Magazine, February, 1935 



65 



WhifskmdtfJpai/ mote? 

CLOPAY SHADES 

</lbe sc:jCove£if. .yet only 

15' 



WITH CLOPAYS SO 
INEXPENSIVE I DON'T 
HAVE TO TOLERATE 
DINGY, CRACKED SHADES 



EACH! 




AFTER all, why p a y-50c— 75c— $1.00 apiece 
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I've found Clopays wear just as long and the 
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Besides; Clopays have many features found in 
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without tacks or tools. And that attractive 
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Why pay more, indeed, when 15c will buy so 
much in Clopays! Sold by all 5-and-10c stores 
and most neighborhood stores. Send 3c stamp 
for color samples to CLOPAY CORPORATION, 
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"I'VE 



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66 



On the Set with 
Coming Pictures 

(Continued from page 65) 

hesitate a little bit to tell him so. 

When Jimmy lands a burning plane, 
after Pat has bailed out, he is hailed as 
a hero for sticking to his ship, and, after 
that, there's no holding him. 

Disliked by everybody, Jimmy con- 
tinues to hold his spot as ace flyer of 
the corps and the highlight of the piece 
occurs when the plane he and Pat are 
flying loses part of a wing during the 
smoke-screen maneuvers. 

Wriggling out on the broken wing, Pat 
balances the ship long enough for Jimmy 
to make a perfect landing, and then 
the laurels go to Pat. 

Discovering that his girl has come to 
love the sassy aviator, Pat makes an 
elegant "beau geste," relinquishing his 
"heart" to the thoroughly chastened 
Cagney. 

Lloyd Bacon puts the devil dogs 
through their paces with directorial 
finesse. 



MILLS OF 
THE GODS 

• 
COLUMBIA 



May Robson is 
grandmother to a 
prosperous plow com- 
pany and a flock of 
ungrateful, parasitical 
descendants who leave May to run the 
business profitably while they gallivant 
all over Europe, living off the interest 
of a $50,000,000 trust fund. 

Comes the depression and the factory 
starts slipping. But will those ungrate- 
ful brats give the old lady the loan of 
their money until the business gets on 
its feet again? Not much they won't. 
Instead, they try to sneak back to their 
milk and honey in Europe, and, not 
until the factory workers riot and a 
grandson, James Blakely, is accidentally 
shot, do the nuisances wake up to the 
fact that "life is more than just a bowl 
of cherries." 

Victor Jory, one of the mill hands, 
falls in love with the snooty grand- 
daughter, Fay Wray, and, before it's 
over she comes down to earth deciding 
that maybe the salt of the earth is bet- 
ter than all of Grandma's "sugar," after 
all. 

It's a Melville Baker-Jack Kirkland 
story, with that crack director, Roy 
William Neil, at the wheel. 



SWEET MUSIC 



WARNERS 



The Warner lot 
is certainly a riot 
of chorines and 
song, this month ! 

Jerry Wald wrote this tale espe- 
cially for Rudy Vallee, and Rudy, with 
a wealth of experience behind him, 
promises a right smart performance. 

Vallee is a college man who becomes 
world famous as an orchestra leader "and 
crooner. He loves, Ann Dvorak and 
she loves him, but there is so much an- 
tagonism between the two that you're 
not supposed to suspect the affection 
until the end of the picture. 

Placing his orchestra and himself in 
a swanky New York night club, Rudy 
persuades the manager to send for Ann, 
who is singing and dancing herself to a 
standstill in a small-time racket. 

Not knowing that Rudy has been in- 
strumental in getting her the break, Ann 
treats him badly. And, when she fails 
to come through and is fired out of the 
place, she blames him for it. 

Later, when Rudy gets a big radio 
contract, he again arranges to present 
Ann on his program. 

The sponsors, Joe Cawthorne and Al 
Shean, aren't very excited over the idea, 
but, when Rudy insists, they give in, 
relegating their preference, Helen Mor- 



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gan, to the immediate background, 
rather than lose the Vallee program. 

Ann clicks, discovers that Rudy is 
really the cream in her mushroom soup, 
and the piece finishes on a high-powered 
theme song, with Rudy crooning into 
the girl friend's shell-pink ear. 

Al Green directs the heigh-ho's. 



BEHOLD MY 

WIFE 

• 

PARAMOUNT 



if you In 



i in Canada send your request to Campana Corp.. Ltd. 
TM 2 Caledonia Road. Toronto Ontario. 



When Jean 
Raymond's elegant 
family breaks up 
his romance with 
a pretty stenog- 
rapher the heart-broken girl hurls her- 
self from a 'steenth-story window. 

Hating them, Gene determines to 
bring disgrace on his snooty family, 
and, in a drunken moment, marries an 
Indian girl and brings her home to live. 

As Gene has wired the folks that he 
has married a daughter of one of Amer- 
ica's "first families," Momma and Poppa 
excitedly stage a swanky party in honor 
of their new daughter-in-law. So, imag- 
ine their consternation when Sylvia 
Sidney, all decked out in beads, braids 
and doeskin, steps off the train and into 
their unwelcoming arms! 

Well, it's too late to call off the party, 
but, they needn't have worried. Be- 
cause, with her hair up and the doeskin 
ditched in favor of a Patou model, little 
Sylvia gives the Junior Leaguers a right 
smart run for their broad a's. 

Mad as hops because the little woman 
has foiled his plan to disgrace the fam- 
ily, Gene gets roaring drunk and tells 
Sylvia just why he married her. 

Sick at heart, Sylvia gets back into 
her Indian suit and runs away with 
Monroe Owsley, who has been making 
passes at her all evening, anyhow. But 
Gene's sister, Juliette Compton, has 
some ideas of her own about Owsley's 
love life, and, when she catches him 
with sister-in-law, grabs a gun and 
shoots him dead. Which only goes to 
show that we all go native, now and 
again. 

To protect the sister of the man she 
loves, Sylvia says she did it. And Gene, 
suddenly realizing that he's crazy about 
the Indian maid, jumps up and says he 
did it. 

So what to do about it? 

Director Mitchell Leisen didn't seem 
any too sure about the finale himself. 
But we'll bet a plugged nickel that 
Gene and Sylvia are turned loose to 
live happily ever after. 

H. B. Warner, Laura Hope Crews, 
Kenneth Thompson and Dean Jagger do 
their part to make the cast a happy one. 
And Bill Lipman and Gladys Lehman 
got together on the story. 

T „n W¥IIT1? H ° W ab ° Ut a mUf " 

THE WHITE d t f 

COCKATOO change? 

Two minutes after 
registering at a hotel, 
Ricardo Cortez is up to his neck in dead 
bodies, screams in the night, vanishing 
Jean Muirs, and things like that. 

If Ric had been smart, he'd have kept 
his Grecian schnozzle out of the whole 
mess. But, if somebody stabbed a 
perfect stranger with the hour hand off 
your very own clock and left the body 
lying around where you either had to 
step over it every time you turned 
around, or else . . .? Well, anyhow, 
our hero decides to play a one-man 
game of Scotland Yard. Just for the 
fun of it. 

Jean Muir has inherited a for- 
tune from her dead parents, and that, 
my friends, is the cause of it all. 

There's a missing brother, a myste- 
rious doctor, the funny-acting hotel pro- 
prietor and his wife, and a white cock- 
atoo, all mixed up in the monkey busi- 
ness. Furthermore, everybody behaves 
so peculiarly that you just can't trust 
any of them. 



WARNERS 



The Nexv Movie Magazine, February, 1935 



On the Set with 
Coming Pictures 



In the end. however, it takes the 
cockatoo to help Cortez bring the guilty 
man to justice, and, how he does it is 
something Papa Warner would kill me 
for telling! Which would be another 
murder. Which would be one too many, 
the way things are now. 

Mignon Eberhardt concocted this tale 
and Alan Crosland directs. 

Did you ever see a cockatoo stoog- 
ing? Well, / did! Two of 'em, in fact. 

The script called for a bird that was 
beautiful, could sing, and do tricks, all 
at once. There were plenty of beau- 
tiful cockatoos; some that could sing 
nicely, but only a very few able to 
perform capably. 

Consequently, to get the desired ef- 
fect, Warners were obliged to rent three 
birds, at so much per day per head. And 
we'll bet you won't know the difference! 
Mistaken identity 
is always a good 
skeleton on which to 
drape the earthly 
remains of a story. 
This version, by W. R. Burnett, has 



PASSPORT 
TO FAME 

• 
COLUMBIA 



to do with a meek and timid hardware 
clerk (Edward G. Robinson), who looks 
so much like a big, bad gangster (Ed- 
ward G. Robinson) that he's always 
being thrown in jail and given the third 
degree until he can prove the difference. 

To save a lot of time and trouble, 
the district attorney gives him a letter, 
a sort of passport, that will identify 
him to any officer as Jones, precluding 
the possibility of his being arrested as 
Mannion, the Killer. 

However, at the point of a gun, the 
Killer relieves Jones of the passport 
and carries on with his life of crime, 
thoroughly protected from the law. 

Jones has been in love with Jean Ar- 
thur for a long time, but, spineless crit- 
ter that he is, never had the courage to 
mention it. 

But, when the real tough mug kid- 
naps Jean, along with Eddie's aunt, well, 
it sort of brings out the Jesse James in 
our hero and does he go to town with 
those bandits? 

Anyhow, Eddie's a grand guy. Ask 
Wallace Ford and Director John Ford. 



Revamping the Stars 



{Continued from page 4) 



that are worn only on the set, before 
the camera. 

" 'Your face is lopsided; they told 
me next," Sullavan went on to say. 
" 'Your mouth droops on the right side 
and your jaw is lower there than on the 
left.' They fixed that in the make-up 
department, although I was afraid they 
were going to send me to a hospital and 
carve a new jaw for me. They put lip- 
stick on the corner of my mouth and 
painted the right eyebrow higher than 
the left, and that raised my face on the 
right side. As a matter of fact, I'm not 
kicking. They did a really good job 
there. I appreciate it. When I get 
around to putting on make-up for an 
occasional party, I follow out the 
studio's ideas, and the effect is really 
rather good. I believe that if most 
women would really study their faces, 
they could work miracles, because what- 
ever beauty I have is certainly not God- 
given. It's a studio job." 

As a matter of fact, this make-em- 
over racket is one of Hollywood's main 
jobs. There are scores of people whose 
sole business is to make 'em what they 
ain't. There's a dentist on Hollywood 
Boulevard to whom more stars owe their 
fame. He's got a big photograph of 
Clark Gable, grinning that swell tooth- 
showing grin of his, on which Clark has 
frankly written an autograph and the 
statement that the teeth aren't his own 
but the doctor's. Plastic surgeons have 
their Hollywood office walls hung with 
pictures of stars before and after. An 
ear-tacking down or a nose-straighten- 
ing job isn't their only work either. 
You'd be surprised at the things they've 
lifted on certain stars! 

And the make-up men! — why, they 
ought to rename them the make-star 
men. Just the other day, I dropped in 
on Perc Westmore, Warner's topnotch 
make-up champion, and he was all 
fagged out. 

"What's the matter, Perc," I asked. 

"Katie," he groaned, "I've just made 
another beautiful star, and I'm all tired 
out." 

"So I asked him to tell me about it. 
What he meant was that he had been 



making over a beauty via the hairdress 
and make-up method, until she was so 
beautiful she didn't know herself. And 
besides, he added, she was a rather rare 
case . . . 

"Josephine Hutchinson, the gal who 
played 'Alice in . Wonderland' in Eva 
LeGallienne's New York production." 
Perc explained. "She was unique in 
that she came to Hollywood willing to 
learn, instead of thinking she knew 
everything about being beautiful." 

So she and Perc co-operated, and 
how! They made 30 different tests of 
hairdress alone — every one a movie 
test! They made another 14 tests — all 
movies — of make-up! That's 44 tests 
alone on just those two branches, ex- 
clusive of all the walking and talking 
and emotion-registering tests! 

When the tests were done, they ran 
them off before the studio big shots — 
hours of pictures of Josephine Hutch- 
inson. And out of that welter, they 
chose the best — and the result, wait till 
you see her on the screen. 

"She's not beautiful herself," Perc 
says with professional frankness, "but 
she's a perfect subject for make-up. 

"And because she was, herself, so 
neutral, we have been able to make her 
over into a creature so glamorous and so 
colorful that my own wife wants to 
know how many hours a day I spend 
with her in the make-up department and 
what we're doing!" 

"Is that the regular process for all 
these newly-signed stars, Perc?" I asked. 

"My gawd, Katie," he grunted, 
"you've seen those before-and-after pic- 
tures of Joan Crawford and Garbo and 
Shearer and Dietrich and the rest of 
them, haven't you? They had to go 
through it themselves. God or Mother 
Xature did a pretty good job to start 
with, of course, but where they left off, 
we began. 

"As a matter of fact, there isn't a gal 
in the world, no matter how beautiful, 
who can't be improved by a make-up 
man and a dentist and a hairdresser and 
a few of our boys. And if a girl wants 
to study enough she can do the same 
things to herself." 




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The New Movie Magazine, February, 1935 



67 



A TRUE 
STORY 




By AN 
■OHIO MOTHER 



Who tells of a simple aid 
to good health and a 
beautiful complexion 

When children grow up with fine com- 
plexions and are "pictures of health," 
mother usually has contributed some 
good sound advice. We thank Mrs. Leo 
Platteborze of 22 Euclid Avenue, 
Struthers, Ohio, for her letter, below, 
telling what she found so essential in 
bringing up strong, healthy children : 

"I am enclosing a photograph of my 
two oldest children in babyhood. They 
were both Nujol babies. 

"I started my newest baby on it 
when she was three months old and 
she has a fair complexion and is just 
as regular as the rest of us. 

"The only disease the children have 
had has been measles and no bad after 
effects developed. They certainly are 
the pictures of health and I have al- 
ways felt that we owe our gratitude 
and our 'regular health habits' to 
Nujol. 

"We are constant users of Nujol. I 
always have an extra bottle on hand. 
It has kept'us healthy all through the 
long hard winter we had. Our habits 
were regular. 

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Copr. 1934, Stanco Inc. 



You Tell Us 

(Continued jrom Page 40) 

Ziegfeld in judging an actor's ability. 
Mr. Ziegfeld must have been indeed 
stupid and blind to single out Fields as 
an inimitable comedian. 

As for his beauty; they say that 
beauty is in the eyes of the beholder, 
and surely such a severe critic as your- 
self should be able to detect the good- 
liness and cleverness beaming from his 
kindly face. As for brains — you wouldn't 
dare dispute the fact that a man drawing 
thousands a week is one of lower intel- 
ligence. 

Every knock is a boost, so up goes 
Fields two notches in my estimation. I 
hope the other readers will agree with 
me. So, to you, W. C, a crown as the 
King of Comedians and may you con- 
tinue until my grandchildren fight to see 
your next picture. To you, Mrs. Vito — 
phooey! — Mrs. Robert Bentley, 127 
S. 18th Avenue, Maywood, Illinois. 

All right, Mrs. Bentley, but if Mrs. 
Vito comes back at you now — by golly, 
we'll print her letter! 

And Another! 

THE critics who annoy me most are 
those who want all actors to look, 
act and be just like their personal fa- 
vorites of the present moment. And so 
I say to Mrs. D. E. Vito of California, 
I, too, enjoy Edward Everett Horton, 
but I also think W. C. Fields as funny 
in his line and as great an "artist in his 
way. Each is a genius, but who wants 
them alike, or wants to see them too 
often? W. C. Fields is inimitable as the 
gentlemanly, shrewd half-crook. His ex- 
positions of universal, human, low-brow 
"cussedness" are comically burlesqued 
in just the right proportions, so that the 
audience can take it and like it and, 
perhaps, benefit by it. I would like to 
see W. C. Fields play the part of the 
immortal Colonel Sellers of Mark 
Twain's "The Gilded Age." I never see 
him in action without thinking of that 
remarkable character. — Emeroi C. 
Stacy, 1005 S. W. Park Avenue, Port- 
land, Oregon. 



Come on, Mrs. Vito! 
We're on the sidelines. 



You tell 'em! 



The Stars Who Sing 

A ND they say people do not like 
"^ good music any more! This is 
what happened in Sacramento. At a 
theater here, Grace Moore in "One 
Night of Love" is in its sixth week. An 
unheard thing for even the very best of 
pictures, and likely not to end then. I 
sincerely hope to see all of the cast to- 
gether in another picture. They are 
excellent. — Mrs. K. Yeargin 1517 26th 
Street, Sacramento, California. 

For years, Mrs. Yeargin, producers in- 
sisted no one would listen to fine music 
on the screen. They have been taught a 
much-needed lesson. 

The One Who Is Gone 

\7"OUR recent article, "Can Pauline 
Lord take Marie Dressler's Place?" 
presented an interesting and thought- 
provoking question. Miss Lord gave a 
splendid interpretation of Mrs. Wiggs, 
but despite her great ability as an actress, 
I do not think that Miss Lord will find 
Dressier roles a medium for her work. 
As your article wisely says, no one can 
actually take another's place. To my 
mind, the Dressier type of roles could 
be played by Louise Dresser. Some of 
her brusque statements and gestures 
used in "The Scarlet Empress" were 
reminiscent of the Dressier idiosyn- 
crasies. — Mrs. Helen Brink Glover, 210 
East Fourth Street, Frankfort, Ken- 
tucky. 



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As the months pass, people are realiz- 
ing more and more that there will never 
be anyone who is quite our dear Marie. 

The Fairy Princess 

TF I were an illustrator for a volume 
of fairy tales, I'd choose lovely 
Helen Twelvetrees as my : 'mentaf pic- 
ture" model for each and every fairy 
princess! Even if Helen were not the 
great actress she really is, I'd still love 
her for her fragile, blond beauty and 
plaintive voice — for her calm and un- 
publicized private life — for the struggles 
she has endured to attain her present 
stellar position. 

Knowing that Helen is a true, dra- 
matic artist, and that she has a long 
list of excellent performances to her 
credit — I wonder why the producers 
can't find another "Grand Parade" type 
of story for her? How could anyone 
forget Helen's magnificent portrayal of 
the unfaithful musician's downtrodden 
wife? 

I've also visualized Helen as an en- 
chanting "Lady of the Lake" in a 
talkie-version of that classic. — Mrs. 
Lula Weber, Ursa, Illinois. 

It is to be hoped that Helen's run of 
bad luck will let up soon. 

More on Moore 

CUPERLATIVES suddenly seem in- 
adequate when trying to describe 
"One Night of Love" with Grace Moore 
in the starring role! I thought I'd seen 
and heard everything worth while! But 
Miss Moore brings a distinctly new type 
of personality to the screen to say noth- 
ing of the most glorious voice this side 
of heaven! Deftly worked into the 
picture as natural sequences Miss Moore 
sings several of the most beautiful 
arias ever written. Her voice holds a 
promise of new thrills for millions of 
music and picture lovers. "One Night 
of Love" will make screen history! 
Thanks, Columbia, for giving us such 
a rare treat! — Mrs. Charles Toles, 514 
North Nevada Avenue, Colorado 
Springs, Colorado. 

Read our "Forecast" in this issue, Mrs. 
Toles. You may soon have lots of grand 
opera on the screen. 

The Tender Years 

\7[7"HILE I believe that the revelation 
"of ages of our favorite movie ac- 
tresses and actors in the recent issue 
under "Battle of the Ages" proved in- 
teresting reading matter to most of us, 
I found some of their ages seemingly 
tender. 

I would advise some of the ''Boys" 
and "Girls" to have another peep at 
their birth certificates. — Marie R. Eber, 
1356 West 64 Street, Chicago, Illinois. 

The records are open to anyone, Marie. 

Gary's Appeal 

A GREAT big cheer for Gary Cooper 
^*- for his very fine performance in 
"Now and Forever." 

I can readily understand why most 
of the actresses want him as their lead- 
ing man. He has what appeals to every 
woman. 

As Shirley Temple's father in this 
picture, he played the part to perfection. 

I, for one, would like to see more 
pictures with Gary Cooper as leading 
man. — Mrs. John Glenzer, 7111 Cam- 
pania Avenue, Pittsburgh, Pennsylvania. 

He has a great appeal for men, too, 
Mrs. Glenzer. 

Gable-Novarro-Howard 

F JUST read your article in the De- 
*■ cember number of New Movie on 
Gable, Novarro and Howard. When I 
attend a Gable movie, which is every 
time there is one, it is to a packed 
house. 



68 



The New Movie Magazine, February, 1935 



You Tell Us 



Give us more Gable pictures, please. 
We surely get our money's worth. 
— Mrs. Lucy Lucier, Augusta, Maine. 



And how 
Ramon? 



about poor Leslie and 



Jean's Fine Work 

(~)NE of the most delightfully enter- 
^ taining pictures I've seen lately is 
"Have a Heart." 

Jean Parker's fine work in this 
proves that her great performance in 
"Little Women" was no mere flash-in- 
the-pan. Capably assisted by the irre- 
pressible James Dunn, droll Una Mer- 
kel and the uproariously comical Stuart 
Erwin, Miss Parker makes of "Have a 
Heart" a memorable film. 

Laughter, tears, disaster and triumph 
are blended with consummate skill into 
a creation appealing to young and old 
alike. It is so clean and aboveboard 
that even the most indigo of censors 
will scent no sinners within its confines. 
— Mrs. Karl Penington, Blountstown, 
Florida. 

Yes, Jean really seems to be one of 
the stars who will last. 

Light or Heavy — Which? 

HP HE return of George Arliss to light 



1 



comedy roles is in itself a matter for 



cheers. But that he should have been 
so fortunate as to find so suitable a 
part in his latest hit, "The Last Gentle- 
man," is another opportunity for more 
cheers. It again proves that Mr. Arliss 
does his memorable work in light 
comedy pictures like the type of "The 
Millionaire," "Working Man," etc. — 
Mrs. S. Gooze, 25 East Mosholu Park- 
way, Bronx, New York. 

When you see his newest, the Gaumont- 
British picture "The Iron Duke," maybe 
you'll change your mind, Mrs. Gooze. 

An Unusual Letter 

HPHERE is one type of picture that 
*■ must be a relief and joy to the cen- 
sors. It is also a type that can be en- 
joyed by every age and class of people. 
That is the "Travel Talks." 

"Tulip Time in Holland" was beau- 
tiful and the coloring excellent. Every- 
one who saw it spoke of it with pleasure. 
I have seen other travel pictures and 
thoroughly enjoy this type of short 
subject, but "Tulip Time in Holland" I 
consider the most beautiful to date. 

Let's have more "Travel Talks." — 
Mrs. Wm. B. McGee, 220 Page Avenue, 
Orlando, Florida. 

Some of the short subjects are really 

excellent. We agree, Mrs. McGee. Isn't 

it a shame that the theaters fill out their 

' programs with so many bad, boring ones? 

Laurels 

[" AURELS to the Gaumont-British 
film, "Little Friend," featuring Nova 
Pilbeam. It is the most interesting pic- 
ture yet made on what happens to the 
children when their parents divorce. 
And Miss Pilbeam's touching perform- 
ance certainly stamps her as a grand 
little actress. Please, New Movie, let's 
have Elsie Janis do a Nova Pilbeam 
story. — Pearl Skulnick, 572 Powell 
Street, Brooklyn, New York. 

Nova has gone back to England, Pearl, 
but she may come over again soon. 

Clever 

"L70R those of us timid of the for- 
malities of opera, accustomed as we 
are to the banalities of accessible jazz. 
"One Night of Love" is a welcome ex- 
perience. Grace Moore with her glori- 



ous voice and complete naturalness as 
an actress will do much to popularize 
this type of music. Fans all over the 
world, recognizing her achievement, are 
crying "La Moore, Toujours La Moore." 
— Adine Travis, 5200 Blackstonc, Chi- 
cago, Illinois. 

Grace Moore herself would get a 
chuckle out of your pun, Adine. 

The Crusade 

{CRITICS, radio artists, newspapers, 
yea, even the movie magazines, 
joined in ridiculing the Crusade for De- 
cency; yet, despite this allied, ignor- 
ant ridicule, the Crusaders are winning 
their heroic fight. 

Already the studios have realized that 
movie-going people are 99% in favor of 
pictures which, as of yore, entertain, 
instruct, and inspire, without degenerat- 
ing their morals. — /. Walter Le Bon, 
2029 Vrsidines Avenue, New Orleans, 
Louisiana. 

New Movie didn't ridicule it. And 
you're right. The crusade has won its 
fight. 

Personality Plus 

T_TATS off to Josephine Hutchinson, 
■*■ -*■ the new star ! What a team she 
and Dick Powell make in "Happiness 
Ahead!" What looks, what charm and 
what a smile! Add them all together 
and they equal personality plus. People 
can have their Dietrichs, Garbos and 
Crawfords, but give me a girl who has 
pep, vim and vigor such as Josephine 
has. I am sure other people also agree 
with me that she is on her way up the 
ladder of success. Give the people 
"Happiness Ahead" by letting them see 
more and more of this wonderful ac- 
tress. — Edna Johnson, 300 Gramatan 
Avenue, Mount Vernon, New York. 

Do our ears deceive us, or is this a 
boost? Gosh! 

Hail! 
1LJAIL, Gloria! 

-*• -*■ "Here's one little girl we simply 
can't forget. Her brand new picture. 
"Music in the Air," shows us the true 
actress and singer she really is. 

Swanson has a splendid singing voice, 
which we greatly appreciate. She will 
probably stand a wonderful chance of 
crashing the gates of grand opera. Just 
give her plenty of rope and she will. 

Yes, we remember her back in the j 
old DeMille days. Who doesn't? — 
Lyle Dean Scott, 1738 Northwest 3d 
Street, Oklahoma City, Oklahoma. 

Gloria is one of those girls you just 
can't lick, Lyle. 

One Night of Love 

A FTER seeing "One Night of Love" 
■^ and hearing the audience's reaction. 
I am fully convinced that the theater 
public is educated. The applause fol- 
lowing the arias from "Carmen" and 
"Madame Butterfly" showed whole- 
hearted appreciation of one of the finest 
phases in movie development — the in- 
troduction of art. 

If "One Night of Love" doesn't re- 
ceive the medal for the year's best 
musical picture, it will only be because 
those of us who saw it hesitate to place 
it in the same category with other mu- 
sical pictures. The possibilities that film 
has opened for future artistic produc- 
tions are amazing. Thank you, Mr. Di- 
rector.— Mary Cohen, 70 K. St., N. W '., 
Washington, D. C. 

You'll be interested in reading the 
other letters about the picture. 




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The New Movie Magazine, February, 1935 



69 



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New Movie 
Forecast for 1935 

{Continued from page 29) 

competition nor censorship. Leaves Fox 
this year for a short vacation over at 
M-G-M, where he may star in Eugene 
O'Neill's "Ah, Wilderness." 

JOE E. BROWN ! Has the same at- 
traction for the family trade. His 
amazing popularity is curious. He 
numbers' so many children among his 
fans that he has become an idol. 

WALLACE BEERY! Has slipped a 
point or two from his high place of the 
previous year. "The Great Barnum'' 
should make his position secure in 1935. 

GEORGE ARLISS! Elevated into 
one of the ten most popular box-office 
stars of his sex, owes his new standing 
solely to the thriving popularity of 
"House of Rothschild." Distinctly a 
prestige star with a direct appeal for 
the intelligentsia. His present high 
box-office rating to be only temporary. 

LESLIE HOWARD! In spite of a 
long list of successful pictures during 
the past twelve months, did not make 
the grade of being listed among the top 
drawing-cards. Fits perfectly into the 
new trend. Will go romantic in 1935, 
playing not only "Beau Brummel," but 
perhaps "Anthony Adverse" as well. 

CLARK GABLE! His flair for com- 
edy was one of the surprises of the 
year. "It Happened One Night" a 
great boom to his popularity. Ranking 
first among the male stars, he might 
easily recapture the laurels in 1935 if 
his producers give him the same type 
of human characterizations which won 
him the honors last year. 

WILLIAM POWELL! He too, has 
won a tremendous new vogue as a suave 
comedian. Because of his rapidly build- 
ing popularity and the long list of as- 
signments committed to him for 1935, 
he will undoubtedly become one of the 
leading contenders for first honors. 

FRED ASTAIRE! There's a name 
you're going to see in big lights this 
year. With a mere bit in "Flying 
Down to Rio" practically stole the 
picture. In "The Gay Divorcee," a sen- 
sation! Radio pictures have the big- 
gest star bet of the year in him. 

MAURICE CHEVALIER, GARY 
COOPER and GEORGE RAFT, who 
have previously rated among the top- 
notchers, are in less favorable positions 
as the year begins. With the exception 
of Cooper, there is doubt about the 
other two recovering lost points. 

WARNER BAXTER, RONALD 
COLMAN, PAUL MUNI, EDMUND 
LOWE, JACK HOLT and RICARDO 
CORTEZ remain reliable gold-bonders. 

PREFERRED PLAYERS 

T^HE majority of players listed in 
■*■ this category are high-salaried fea- 
tured performers who are not quite 
stars. Most of them are under con- 
tract, being farmed out regularly to 
other companies at enormous increases 
in the weekly stipend. Their values 
fluctuate throughout the year, depend- 
ing upon the roles they play. They make 
so many pictures that inevitably they 
hit one that sends their stock skyrock- 
eting up again. Sometimes they do 
better when away from the home lot. 

CAROLE LOMBARD, MAY ROB- 
SON, BETTE DAVIS and GEORGE 
BRENT are three good examples of 
stereotyped understars, who on their 
home lots bordered on mediocrity but 
were sensations on loan-out assign- 
ments. Miss Lombard, on leave from 
Paramount, clicked big at Columbia in 
"Twentieth Century," as did May Rob- 
son, loaned by M-G-M to play in "Lady 



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for a Day" and "Lady by Choice." 
Miss Davis scored a real triumph at 
RKO in the lead opposite Leslie How- 
ard in "Of Human Bondage" and re- 
turned to Warner Brothers virtually a 
full-fledged star. Brent, an ordinary 
leading-man at Warners, turned in an 
ace performance as a light comedian in 
"Stamboul Quest" at M-G-M and was 
retained to play opposite Garbo in 
"Painted Veil." His home studio rates 
him now as the white-haired boy of 
1935. 

Add HERBERT MARSHALL and 
CHARLES LAUGHTON to this list, 
and bet your money that they will be 
Gold-Bond stars before the year is over. 

MIRIAM HOPKINS, JEAN MUIR, 
KITTY CARLISLE and MAUREEN 
O'SULLIVAN face a brilliant year. 
Particularly Miss Hopkins, who should 
rise to new heights under the deft man- 
agement of Samuel Goldwyn. 

ELISSA LANDI, GINGER ROG- 
ERS, LORETTA YOUNG and JOAN 
BENNETT have come out of their dol- 
drums. They'll be more and more pre- 
ferred as the year grows older. Take 
a chance too on VERREE TEASDALE, 
RUBY KEELER, UNA MERKLE, 
ALICE FAYE and HELEN MACK. 
And don't forget GERTRUDE MICH- 
AEL. She'll be an expensive gold-bond 
some day. 

High hopes were held out a year ago 
by their sponsors for FRANCHOT 
TONE, GENE RAYMOND, FRANCIS 
LEDERER, DOUGLASS MONTGOM- 
ERY, CARY GRANT and JIMMY 
DURANTE. However their positions 
on the Hollywood stockboard remain 
stationary. Lederer may move up if 
he does "Three Musketeers." 

SALLY EILERS, MADGE EV- 
ANS, ANN DVORAK and JOAN 
BLONDELL have missed their chance 
for stardom. Miss Blondell's muchly 
publicized determination to retire in 
favor of domesticity has particularly 
lessened the interest of the fans in her 
work. She could be tops with the right 
material. 

Among the character players EDNA 
MAY OLIVER is still the favorite of 
all the major studios. She has achieved 
a popularity that rivals some of the 
stars whom she supports. Her salary 
is one of the largest on the cinema pay- 
rolls. Decidedly preferred for a long 
time to come. 

Her closest rival, ZASU PITTS, has 
hurt herself with too many pictures and 
too much repetition of characteriza- 
tion. She should pick her roles more 
carefully this year. Danger ahead. 

MARY BOLAND carries on a 
sprightly rivalry with ALICE BRADY 
and BILLIE BURKE, with Miss Bo- 
land slightly in the lead. 

GUY KIBBEE and WALTER CON- 
NOLLY are both on the verge of star- 
dom. W. C. FIELDS is an important 
marquee name already. LEO CARRIL- 
LO and CHARLES BUTTERWORTH 
are to be given starring opportunities 
at Metro-Goldwyn-Mayer. 

ALINE MacMAHON has had too 
many dull roles of unrequited love. 
Property cast she could be one of the 
most brilliant comediennes on the 
screen. In type she is unlike any other 
young character actress. 

ALISON SKIPWORTH, BERYL 
MERCER and LIONEL BARRY- 
MORE have all lost considerable 
ground in the past few months. 

PAULINE LORD looms as a figure 
of promise and importance. 

NEW FACES 

NEW faces are the greatest gamble. 
They are the "Wildcat stocks" of 
the movies. Every year the major 
studios foster at least two hundred of 
these embryo stars, and wait for them 



70 



The New Movie Magazine, February, 1935 



New Movie Forecast for 1935 



to hatch. Their quotations begin at 
zero and very often climb into the Gold-- 
Bond class overnight. Garbo was once 
a 'new face.' So were Hepburn, Gable, 
Dietrich and even Mary Pickford. They 
were the lucky gambles. But there 
are thousands of new faces that 
marched in the procession of glory for 
a few fleeting moments — and are now 
but Stardust in oblivious space. 

Hot tips on new faces are useless. 
One never knows how they are going to 
turn out until they are actually repro- 
duced in celluloid. A new face can 
mean anything from an imported for- 
eign star to a Broadway celebrity. 
Where the foreign star and the Broad- 
way celebrity often fail, an unknown, 
inexperienced little extra girl will sweep 
into instantaneous success. It's like 
horse-racing. Get a hunch, and stick 
to it. 

Last year dozens of new faces were 
introduced to film fans with the un- 
usual fanfare. Some made a few pic- 
tures, and were soon dropped into the 
quicksands of Hollywood. Others were 
impressive, but still lacked the inde- 
finable qualities that made a lasting 
screen personality. In this class were 
GLORIA STUART, PERT KELTON, 
LANNY ROSS, FRANCES DRAKE, 
CLAIRE TREVOR, GRACE BRAD- 
LEY, IDA LUPINO, BUSTER 
CRABBE, JOHNNY WEISSMULLER, 
JOHN LODGE, STEFFI DUNA, TALA 
BIRELL, JUDITH ALLEN, BRUCE 
CABOT, ADRIENNE AMES and 
many others. 

From Broadway this year come 
RUTH GORDON, the comedienne who 
starred in "Church Mouse," HENRY 
FONDA, ex-husband of Margaret Sul- 
lavan, PEGGY CONKLIN, who makes 
her debut in "The Vanishing President," 
JAMES BARTON, who succeeded 
Henry Hull in "Tobacco Road," 
QUEENIE SMITH, in whom Para- 
mount puts great faith, and FLOR- 
ENCE RICE, being highly touted at 
Columbia. 

From abroad both ROBERT DON- 
AT and CHARLES BOYER are re- 
turning to continue their careers in Hol- 
lywood, while M-G-M is bringing over 
the great British actress, CONSTANCE 
COLLIER. 

New faces today! Famous names to- 
morrow! Which of them will click? 
How many will become stars? In Hol- 
lywood, where lives crumble in a day 
and destinies change in an hour, who 
can say? Fate sticks her hand into the 
grab bag, and no one knows what she is 
going to pull out. 

COMMON-STOCK DARK HORSES 

f N every race there is a dark horse. 
■*■ He seldom wins — but when he does 
— it ; s NEWS! A dark horse comes 
unsuspectingly to victory — an undiscov- 
ered comet in the firmament of stars 
shooting like wildfire into the lime- 
light. Dark horses have all the romance 
of the Cinderella myth being the living 
symbol of the rags-to-riches fairy tale. 
In the race to fame they often prove 
meteors that flame brilliantly for a 
moment in a crowded sky. Hollywood 
remembers Ruth Taylor, Betty Bronson 
and more recently Charlotte Henry, as 
such. Unheralded, they 1 flare into a 
blaze of glory and go their way to ob- 
livion. But they give zest to the monot- 
onous routine, and are one of the most 
interesting features of Hollywood's de- 
sign for living. 

Here are a few names you may want 
to remember: Winifred Shaw, Wil- 



liam Henry, James Ellison, Agnes An- 
derson, Gwen Gilly, Julie Hayden, June 
Clayworth, Iris Adrian, Phil Regan, 
Hugh Enfield, Marian Mansfield, Fred 
Keating, Diana Lewis, Erik Blore, Cesar 
Romero, Helen Westley. Cesar Romero 
has been given a lead opposite Dietrich; 
and Katherine DeMille, Elizabeth Allan 
and Toby Wing are already fairly well 
known for supporting roles. It is 
necessary to put them among the dark 
horses because their own sponsors do 
not seem to realize their possibilities. 

The DeMille girl is a younger 1935 
edition of Nita Naldi, who with the 
right role will prove a revelation. Miss 
Allan has given evidence of her dra- 
matic powers as the nurse in "Men in 
White." 

PRODUCTION PLANS FOR 1935 

THE three greatest box-office suc- 
cesses of the year just ended were 
"It Happened One Night," "The Thin 
Man," and "One Night of Love," with 
"Little Women" close in the lead. 
Most of the major producers are taking 
their cue from these screenplays in 
gauging audience-appetite for the 1935 
programs. You may expect to see many 
films patterned after the treatments of 
these outstanding productions. Human 
comedy tempered with inoffensive sex 
situations will be the keynote. In addi- 
tion, every literary classic with screen 
possibilities will be perused for screen- 
ing, while several musical pictures are 
planned to duplicate the popular appeal 
of "One Night Of Love," in which for 
the first time, Grand Opera, stripped of 
its high-brow tendencies, was served to 
a fnusic-hungry public in popular form. 
Never, in any one year, since the in- 
vention of the motion picture machine 
by Thomas A. Edison, have so many 
classical dramas been announced. At 
least six stories by Charles Dickens are 
promised, three by Kipling, three by 
Sir James Barrie, and at least one apiece 
from the pens of other illustrious 
names in literature. There will be 
many costume pictures. At least a 
half dozen productions in color are an- 
nounced; among these, "Vanity Fair" 
with Miriam Hopkins in the role of 
Becky Sharpe, Dumas' "Three Musket- 
eers" in which Francis Lederer will im- 
personate DArtagnan, "Peacock's Feath- 
er," a classical Greek drama with Ann 
Harding, "The Last Days of Pompeii," 
at least a portion of "The Good Earth," 
and the Walt Disney feature "Snow 
White." 

Gangster and underworld dramas will 
be conspicuous by their absence, ex- 
cept in cases where the subject is made 
farcical as in "The Gay Bride," in 
which Carole Lombard and Chester 
Morris are co-starred, and "Public 
Enemy Number Two," which will fea- 
ture Charles Butterworth in a hilarious 
burlesque of fare that the screen up to 
now has taken seriously. 

TRENDS AND CYCLES 

RURAL settings will predominate in 
- many pictures, and domestic com- 
edy will be stressed. Children will 
abound on every program, and will 
sprout like mushrooms into overnight 
stars. Biographical dramas announced 
for last season, and abandoned, will no 
doubt reach fulfillment this year, with 
every major studio planning at least 
two such historical portraits. There 
will be mystery pictures galore; many 
given a light treatment along the lines 

{Please turn to page 72) 



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The New Movie Magazine, February, 1935 



71 



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72 



New Movie 
Forecast for 1935 

(Continued from page 71) 

of "Thin Man," eliminating the horror 
picture altogether, except in a case like 
Edgar Allan Poe's "The Raven," which 
Universal has announced. 

There will be the usual quota of mu- 
sicals featuring such stars and crooners 
as Bing Crosby, Dick Powell, Rudy 
Vallee, Lanny Ross, Carl Brisson, Helen 
Morgan, Eddie Cantor, Joe Penner, 
Maurice Chevalier, Fred Astaire and the 
Marx Brothers. But there will also be 
a new group of musical stars of a high 
calibre, such as Grace Moore, Jeanette 
MacDonald, Lily Pons, Lucienne Boyer, 
Irene Dunne, Richard Bonelli, Evelyn 
Laye, Lawrence Tibbett, Mary Ellis and 
Kitty Carlisle. 

FOREIGN PRODUCTION 

England is out to corner the world 
market with its motion picture produc- 
tions. It promises Hollywood the 
toughest competition it has had since 
the furor over the old Ufa films from 
Germany, which brought Pola Negri and 
Emil Jannings to the attention of 
American audiences and focused Holly- 
wood eyes upon Ernst Lubitsch. 

Where Germany was limited because 
of its totally different language and cus- 
toms, England can produce films for the 
entire English-speaking world without 
such obstacles to overcome. 

Already London is beginning to rival 
Hollywood as a motion-picture produc- 
tion center. In its environs several 
large studios are already built and plans 
are being made for the construction of 
more, to take care of the rapidly in- 
creasing schedule. The English public 
have gone movie crazy, and are behind 
the movement not only in spirit, but 
financially, having recently oversub- 
scribed several millions of dollars in a 
large stock issue. English producers 
can now compete with Hollywood not 
only in salaries, but in quality of pro- 
duction as well. Alexander Korda, an 
ex-Hollywood director, has made Lon- 
don picture-conscious as it has never 
been before, by producing such hits as 
"Henry the Eighth" and "Catherine 
the Great," as well as the new Douglas 
Fairbanks picture, "The Return of Don 
Juan." British International, Gaumont- 
British and Korda productions are at 
present the leaders in the foreign mo- 
tion picture industry. Their program 
for 1935 totals millions of dollars in 
expenditure for the very best of stories 
and stars. 

Maurice Chevalier, Charles Laughton 
and Clive Brook will each make several 
pictures for Korda. Douglas Fairbanks 
is signed for more. Other Hollywood 
stars now making pictures in London 
studios are Laura La Plante, Lupe 
Velez, Anna May Wong, Buddy Rogers, 
Phillips Holmes, Adrienne Ames, Bus- 
ter Keaton, Lily Damita, William Gar- 
gan, Leslie Howard, George Arliss, 
Gregory Ratoff, Richard Bennett; with 
many more engaged to follow. 

In addition England is developing its 
own group of box-office names, such as 
Jack Buchanan, Merle Oberon, Binnie 
Barnes, Madeleine Carroll, Victoria 
Hopper, Cicely Courtneidge, Gladys 
Cooper, John Loder, Zelma O'Neal, 
Anna Neagle, Jack Hulbert, Nova Pil- 
beam and others. 

France, Italy and Spain are all more 
actively engaged in motion picture pro- 
duction than in many years. Germany, 
once the leading manufacturer of films 
abroad, has lost most of her great stars 
and directors under the Nazi rule, being 
reduced to a third-rate competitor. 




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PREDICTIONS FOR 1935 

Russia is making great progress. Some 
day she may rival England as Holly- 
wood's menace. 

Eastern production will boom this 
year, with a greater number of pictures 
made in New York studios than in 
many seasons past. To the writer- 
producer unit of Hecht and MacArthur 
will be added Moss Hart and Kaufman, 
famous playwrights. The Fox eastern 
studio will re-open, and out on Long 
Island Franklin productions will make 
pictures with George M. Cohan, Eva 
Le Gallienne, Lucienne Boyer, the Pari- 
sian songstress, and Yvonne Printemps, 
idol of the Paris stage. To these add 
many more units as the year proceeds. 

Though it will be vigorously denied, 
you can expect to hear Charlie Chaplin's 
voice for the first time when his new 
film, "The Street Waif," is released 
some time late in the year. 

Real opera in the movies! We have 
already predicted that for 1935. An 
inside tip informs us that Paramount 
is planning to film "Cavalleria Rusti- 
cana" perhaps with Helen Gahagan as 
the featured star, while at Columbia 
they are toying with the idea of letting 
Grace Moore do the exquisite "La 
Boheme," and at RKO, where Lily Pons 
is now under contract, Puccini's "Ma- 
rion" is being seriously discussed as an 
introductory vehicle. Jeritza too holds 
a contract with one of the major 
studios. 

Dramatic animated cartoons in fea- 
ture length, and in color! They are 
promised for this year. Already Walt 
Disney is at work on "Snow White," 
with "Gulliver's Travels" penciled in as 
a follow-up. 

Negro stars of the movies! They 
loom as an accepted fact for 1935. 
Practically every major studio has a 
negro actor under contract. Their roles 
are gaining steadily in importance, with 
the trend definitely away from "Uncle 
Tom" type of characterization. The 
New York stage has created a modern 
new negro drama and dramatists, suc- 
cessfully producing such plays as 
"Porgy," "Harlem," "The Green Pas- 
tures," and more recently, "Stevedore." 
In pictures King Vidor attempted negro 
drama several years ago with his unsuc- 
cessful, "Hallelujah!", and consequently 
further plans for such pictures were 
abandoned. But the prejudice against 
the serious treatment of negro life is 
passing, and the motion picture pro- 
ducers will follow in the footsteps of 
their New York brothers in establishing 
a cinematic negro drama. Universal is 
the first with "Imitation of Life," Fan- 
nie Hurst's great novel, in which a 
clever colored actress, Louise Beavers, 
has a role second only in importance to 
Claudette Colbert. 

Government schools to teach acting 
and writing! The statement sounds 
like an announcement from the Soviet 
press. But it is something that may 
become an actuality in the United 
States before 1936 comes to pass. New 
York State is the first to open such a 
school, giving tuition without any 
charge to ambitious people who feel 
they have a talent for either acting, di- 
recting or writing. The course of train- 
ing is four years. At the end of that 
time graduation classes will be held; 
a play staged by the graduating class, 
to which will be invited motion picture 
talent scouts, as well as producers, from 
all the studios in Hollywood and New 
York. Should the experiment give 
promise of success the idea will un- 
doubtedly spread to other states, and 
may eventually prove the short-cut road 
to Hollywood glory for those that dis- 
play genius. 

1935 Marches On! 



The New Movie Magazine, February, 1935 




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The New Movie Magazine, February, 1935 



In his recording for you this month Vallee, in 

"Sweet Music," has learned a few tricks from 

the English. Below: Rudy with Philip Reed 

and Helen Morgan. 




MUSIC 

IN THE MOVIES 



By JOHN EDGAR WEIR 



PICTURE producers continue to 
turn to radio for a large portion of 
their musical talent. The latest 
acquisitions to moviedom's singing stars 
are James Melton and Everett Marshall. 
These two vocal artists have won tre- 
mendous popularity via the air waves, 
and movie moguls believe they will 
emulate their radio success on the 
screen. 

Warner Brothers' "Sweet Music," star- 
ring Rudy Vallee, looms as the most 
important musical production of the 
month. The Vagabond Lover features 
several hit songs in this picture, among 
them "Sweet Music'' and the title song, 
"Fare Thee Well, Annabelle," "Every 
Day," and "I See Two Lovers." How- 
ever, because of unavoidable recording 
delays we are able to include only the 
last mentioned tune in our record re- 
view this month. By the time this re- 
view appears in print, recordings of the 
other featured songs will be available. 
The parade of movie versions of suc- 
cessful stage musicals continues with 
Warner Brothers' elaborate production, 
"Sweet Adeline," a Broadway hit of 
1929, starring Irene Dunne. The cellu- 
loid version retains "Why Was I Born?" 
"Don't Ever Leave Me," and "Here 
Am I," song-hits from the original stage 
production, and incorporates a new tune, 
"Lonely Feet." The score was written 
by Jerome Kern who gave us, along with 
dozens of other hits, "Smoke Gets in 
Your Eyes." Recordings of these songs 
are reviewed in this issue. 

"Music in the Air," produced by Fox, 
featuring Gloria Swanson and John 
Boles in stellar roles, is a musical ro- 
mance of the Gay Nineties. This pro- 
duction also first saw the light of day 
as a Broadway operetta. Its two major 
songs are the very beautiful and tuneful 
"I Told Every Little Star," and "The 
Song Is You." These are retained from 
the original stage show and were also 
written by Jerome Kern, and are proba- 
bly familiar to you. 

And speaking of the trend toward 



HITS OF THE MONTH 

Biggest Hits 

"I SEE TWO LOVERS," by Eddie 
Duchin and his orchestra. 

(Victor) 

Also Recommended 

"OVER MY SHOULDER," by Ray 

Noble and his orchestra. (Victor) 

"WHY WAS I BORN?" by Leo 

Reisman and his orchestra. (Victor) 

"I TOLD EVERY LITTLE STAR," by 

Jack Denny and his orchestra. 

(Victor) 

"ME WITHOUT YOU," by Enric 

Madriguera and his orchestra. 

(Victor) 



the filming of Broadway musicals, it is 
believed that Cole Porter's new musical 
comedy "Anything Goes" will eventually 
be made into a movie, so, in this 
month's review, we include the two hit 
songs from this show for you. They 
are "You're the Tops," and "All 
Through the Night," and are recorded 
by that grand master, Paul Whiteman. 

"[ SEE TWO LOVERS" from Warner 
-*- Brothers' "Sweet Music," is by 
Eddie Duchin and his society orchestra. 
This is a typical Vallee tune with a 
sweet melody and the type of love lyric 
that one instinctively associates with the 
famous crooner. Duchin treats it in- 
terestingly, and incorporates some of 
his inimitable, brilliant piano work. Lee 
Sherwood interprets the vocal in a 
pleasing manner. (Victor.) 

RAY NOBLE, England's premier 
dance orchestra leader, is in the 
list again. It's seldom that a record 
comes through with his name on it that 
isn't a top-notcher. "Over My Shoul- 
der" is the title of the song recorded 
and it's from the Gaumont-British film 



"Evergreen." A real, fast-moving 
tune, handled in the outstanding Noble 
manner, with great work from both the 
brass and reed sections. A vocal re- 
frain is included. 

"When You've Got a Little Spring- 
time in Your Heart" is the tune on the 
reverse side and it is also played by 
Ray Noble and his orchestra. This is 
an altogether different type of number 
and is played to medium slow tempo. 
The sax work is done along the Wayne 
King style. Another hit to Noble's 
credit. (Victor.) 

"A^HY WAS I BORN?" from the 
* * picture "Sweet Adeline," is 
played by Leo Reisman and his orches- 
tra. Many of you will remember this. 
It is a characteristic musical-comedy 
love song, and enjoyed great popularity 
during the run of the Broadway stage 
show. Reisman treats it strictly as a 
show number, sacrificing rhythm to 
some extent in order to bring out the 
rich melody. The vocalist, whose name 
unfortunately does not appear on the 
record, handles the assignment excep- 
tionally well. 

The reverse side carries "Lonely 
Feet," a fresh treatment of the "wall 
flower" theme. Ray Noble, England's 
famous maestro, does a grand job. (Vic- 
tor.) 

"P) ON'T EVER LEAVE ME," from 
*-^ "Sweet Adeline," played by Nat 
Shilkret and his orchestra is an excep- 
tionally fine arrangement with a unique 
introduction in which the guitar-player 
does some tricks. Very rhythmic and 
danceable with plenty of blaring brass 
work. Harold Lambert delivers the 
vocal chorus in a captivating manner. 

On the other side, Leo Reisman plays 
"Here Am I," also from "Sweet Ade- 
line." This tune like the Reisman one 
previously mentioned is played in typi- 
cal "show style," rather than in dance 
tempo. The vocalist, again unmen- 
tioned, sings it splendidly. (Victor.) 



"T TOLD EVERY LITTLE STAR," 

*■ from "Music in the Air," is played 
by Jack Denny and his orchestra. This 
is the hit song from the original show, 
and, if by chance you've forgotten it, 
you'll remember it when you hear its 
first lilting strain. The familiar Jack 
Denny smoothness predominates, and 
some unusual fiddle work stands out. 
Paul Small does the vocal chorus in 
alluring fashion. 

The reverse side offers "The Song Is 
You" from the same picture. Jack 
Denny features the voice of Paul Small 
throughout the greater part of the num- 
ber. An admirable recording for those 
who like music of the higher type. 
(Victor.) 

ME WITHOUT YOU," from the 
Paramount picture, "One Hour 
Late," starring Joe Morrison, is played 
by Enric Madriguera and his band. 
This is a charming love song, and Sefior 
Madriguera, who is credited with pop- 
ularizing the tango in our fair land, 
shows his versatility in his interpreta- 
tion of this number. The fiddle sec- 
tion, which includes Enric himself, lends 
charm throughout. The lovely voice of 
Tony Sacco, of radio fame, is heard 
in the vocal refrain. 

The other side carries "A Little Angel 
Told Me So," from the same picture, 
and is also played by Enric Madriguera 
and his tunicians. A sweet tune in the 
same groove as the preceding one, also 
cleverly handled by the Spanish maestro 
and his boys. Again, Tony Sacco sings 
the vocal in his captivating style. (Vic- 
tor.) 

T?ROM Cole Porter's new Broadway 
" musical "Anything Goes," Paul 
Whiteman records "You're the Tops." 
This one, being very rhythmic, is an 
elegant dance tune. Bits of clean, 
chopping brass work prevail in one of 
those ultra-modern arrangements, for 
which Paul Whiteman is so well known. 
The lyrics, which are refreshingly differ- 
ent, are sung by Peggy Healy and 
Johnny Hauser. 

The other side brings us "All Through 
the Night" from the same show, which 
is a more melodic song in a slower 
tempo. The orchestra, under the baton 
of Paul Whiteman, is superb in its ren- 
dition of this number, and the vocal 
serves as a surprise. (Victor.) 

SOME more songs from "Transatlan- 
tic Merry-Go-Round." This time it's 
"Rock and Roll" as played by Johnny 
Johnson and his orchestra. A nice 
swingy tune done in a medium fast 
tempo by Maestro Johnson and giving 
us a vocal chorus by Lee Johnson. 

"Oh Leo" is the title of the tune on 
the other side, also played by Johnny 
Johnson and his orchestra. 

SINCE Franz Lehar's immortal 
"Merry Widow" has been done for 
the talkies all of the recording com- 
panies are digging through their files and 
resurrecting some of the old releases. 
Here is one that Paul Whiteman made 
a few years back. "Villa" is the title, 
and it's just as beautiful today as it 
was when Lehar wrote it. 

"The Merry Widow Waltz" is on the 
other side, also played by Whiteman. 
These are two swell numbers that every- 
one should have. (Victor.) 

ANOTHER waltz. Angelo Ferdi- 
nando and his Great Northern 
Hotel orchestra play "One Night of 
Love" from the Columbia film of the 
same name. If you like three-four time 
we're sure you'll like this offering. 

"If You Love Me, Say So," also 
played by Angelo Ferdinando and his 
orchestra. (Bluebird). 



74 



The Neiv Movie Magazine, February, 1935 




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yet guard against this danger . . . 



IT'S so thrilling to win ro- 
mance — so important to 
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let Cosmetic Skin steal away 
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The Neio Movie Magazine, March, 1935 



FEB -11335 

©C1B 250587 



new movie 







VOL. XI No, 3 • • • MARCH 1935 

CATHERINE McNELIS, Publisher 

Frank J. McNelis. Managing Editon»Bert Adler, Eastern 
Editor* Mary Marshall, Director of Home Service,- 
John C Mitchell, Western Editor* Hugh Ryan, Art 
Director* Verne Noll, Associate Art Director. 

COVER DESIGN BY ARMAND SEGUSO 



A GLIMPSE AT THE EDITOR'S NOTEBOOK 



EACH year brings uz something new — something just a little different from the year 
before. In every line of business this rule holds good. Motor cars adopt new devices 

to insure greater safety and better appearance; cosmetics attain greater perfection; 
new ways and means of preparing and protecting foods are found; airplanes, trains, 
motor boats, steamships; in fact, in any direction you look, there are definite signs of 
progress and attainment. 

So, too, in the movies, do we find this constant change — this constant experimentation 
for perfection. Microphones which are the ears of the movies, and photographic lenses, 
which are its eyes, are improved each year. And each year, too, sees greater skill and 
ability shown by the cameramen and the sound technicians who handle these all important 
mechanical assistants. 

But are the stories, the plays, the scenarios, improving, too? We think so. The last 
few months of 1934 witnessed the revival of many of the great classics of the past. 
Works of Dickens, Shakespeare, and many other famous authors were presented. So, 
too, were the works of present-day writers, notably, Sir James M. Barrie, Sinclair Lewis, 
Dashiell Hammett, Robert Riskin. All in all, we believe that the screen is rapidly taking 
its rightful place among the arts as a separate and distinct form of expression. 

What about the actors and actresses? Are they improving their technique to keep 
pace with all the technical advances? 

Here is a question that can be argued either way. Many of the audience will hear 
no word of censure about their favorites. Neither will a second group admit that the 
favorites of the first group have any qualifications at all. And so on, each group making 
favorites and holding fast to its enthusiasms. 

But new favorites are being made every day. An old star famous in the past returns; 
a brand new one succeeds in capturing the public's fancy. A star changes his or her 
technique and wins new acclaim. So it goes, year in and year out. But what of their 
abilities? 

Critics in general agree that the movies are growing up. This necessarily must mean 
also that the stars are giving better performances. It must mean, too, that much more 
attention is being given to proper lighting, to sound and to authenticity of background 
and scene. 

It means also, that the tremendous crusade for purity in the films has had a deep 
effect on the producers. Contrary to the belief of many interested spectators that 
purifying the movies meant making them "Pollyanna-ish" and puerile, it has, so far, had 
the directly opposite reaction. Films are cleaner and they are better. NEW MOVIE 
believes, and we think our belief is shared alike by producers and fans, that 1935 will 
see great forward strides taken in every branch of the industry. 

This also includes the theater itself. Many complaints have reached this office from 
readers, that pictures which were otherwise excellent, had been hard to "sit through" 
because of bad sound projection and poor ventilation in the theater itself. These com- 
plaints seldom came from the metropolitan centers, indicating that it is the smaller city 
exhibitor whose equipment was at fault. There is no need today for bad projection; 
either of sound or picture, or for poor ventilation. Remedies for all such faults are within 
easy reach of even the smallest exhibitor. 

In view of the qreat advances being made and already made in motion picture 
production, NEW MOVIE hopes that some improvement will be made in the personal side 
of Hollywood life. Particularly we refer to the many divorces and separations that 
becloud the more glamorous impressions the fans have of their favorite players. Last 
year was particularly bad from this point of view. For in Hollywood there were mora 
separations and divorces than there were marriages. And it is hard to believe that glamour 
and romance can live in the movies, when in real life, the same rule does not hold true. 

It is to be hoped that 1935 will see a complete cessation of these hasty marriages 
and divorces. NEW MOVIE believes that they do more harm to the movies than any other 
single factor. 



THE BEST OF THE MONTH'S STORIES 
OF THE STARS 



Can Love Last in Hollywood? 

— Maude Lathem 



4 
6 
18 
20 
22 
26 



Just Let Me Act Charles Darnton 

Women Rule Hollywood Samuel Goldwyn 

Connolly the Courteous Elsie Janis 

Forgotten Stars of Yesterday Hal Hall 

A Friend I Treasure Gary Cooper 

Coloring the Hollywood Beauties. .Herb Howe 28 

Nitwit Incomparable Leon Surmelian 32 

I'll Quit Before I Fail Charles Darnton 42 

Bette Davis from New England. . .Martha Ford 44 

Do I Look Unpleasant? ...Ruth Hardy 49 

NEWS OF THE FORTHCOMING FILMS 

On-the-Set Reviews Barbara Barry 33 

NEW MOVIE'S SPECIAL DEPARTMENTS 

The Stars at Play .Grace Kingsley 25 

Nemo's Hollywood Day by Day 30 

Give Them a Good Breakfast, Says Nancy 

Carroll 34 

Janet Gaynor's Studio Bungalow 36 

Brighten Up Your Wardrobe 36 

Watch Your Hands, Says Clare Trevor 38 

The Make-Up Box 38 

Junior Gossip Henry Wlllson 40 

You Tell Us 46 

And No Place to Go 51 

England's DeMille 52 



Ait announcement important to all of 
our women readers appears on page 58 



Published Monthly by TOWER MAGAZINES, Inc., 4600 Diversey 
Avenue, Chicago, III. Executive and Editorial Offices: 55 Fifth Avenue, 
New York, N. V. . . . Home Office: 22 No. Franklin St., Wilkes-Barre! 
Pa. Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Cal. 
Officers: Catherine McNelis, President, John P. McNelis, Vice-presi- 
dent; Theodore Alexander, Treasurer,- Marie L. Featherstone, Secretary. 
R. H. Flaherty, Advertising Director; E. L. Schroeder, Eastern Adver- 
tising Manager,- S. B. Galey, Western Advertising Manager; R. M. 
Budd, Pacific Coast Representative. 

Advertising Offices: 55 Fifth Avenue, New York, N. Y., 919 No. 
Michigan Ave., Chicago, III.,- Russ Building, San Francisco, Cal. 

Copyright, 1935 (Title Reg. U. S. Pat. Off.) by Tower Magazines, Inc., 
in the United States and Canada. Subscription price in the U. S. A., 
S1.00 a year. 10c a copy, in Canada, $1 .60 a year, including duty, 15c 
a copy,- in foreign countries, $2.00 a year, 20c a copy. Entered as 
second class matter September 9, 1933, at the Post Office at Chicago, 
III., under the Act of March 3, 1879. Printed in U. S. A. Nothing 
that appears in THE NEW MOVIE MAGAZINE may be reprinted, 
cither wholly or in part, without permission. Tower Magazines, Inc., 
assumes no responsibility for return of unsolicited manuscripts, and they 
will not be returned unless accompanied by stcrr.ped, self-addressed 
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OTHER TOWER MAGAZINES - MYSTERY • TOWER RADIO • SERENADE • HOME • TINY TOWER 

NEW ISSUE ON SALE THE FIRST OF EVERY MONTH 



// 



IF 



• • • 



I KISS YOU NOW. 
I COULD NEVER LET YOU GO! 



IB 



Helen Hayes and Robert Montgomery gave to the 
screen an unforgettable love thrill when they ap- 
peared together in ''Another Language". Now they 
are co-starred in one of the greatest love stories of 
our time, Hugh Walpole's famed "Vanessa". When 
Helen Hayes says: "He has the devil in him... but I 
love him" she echoes the thought of many a girl 
who adores a beloved rogue. M-G-M promises 
you the first truly gripping romantic hit of 1935. 




H€l£n HRY« 



ROB6RT 




in HUGH WALPOLE'S NOVEL 



HER LOVE STORY 

with 

LEWIS STONE • MAY ROBSON 
OTTO KRUGER 

A William Howard Production • Produced by David O. Selznick 
Directed by William K. Howard 



A Metro- Go Idwyn - Ma ye r Picture 



The New Movie Magazine, March, 1935 




Leslie Howard and his daughter, Leslie, spend an enjoyable afternoon at the star's Hollywood residence. 

Can Love Last in Hollywood? 



I THINK there is too much sex-con- 
sciousness about Hollywood these days,'' 
Leslie Howard says. 

"The decencies of life are almost sub- 
merged by the flood of free thinking and 
free speaking on the subject of man's most 
intimate nature. 

"Even our young girls cannot turn in any 
direction without coming face to face with 
something concerning sex. Society seems 
organized to force it on her notice. What 
with revealing clothes, and beauty shops on every 
side, and pictures glossed over, she can't help but be 
impressed with bodily sex-appeal — half truths, al- 
luringly presented. Then this is followed perhaps 
by association with a young man who has a glib 
familiarity with sex and its terminology and a dis- 
torted philosophy of sex — the philosophy that jus- 
tifies transgression as a natural and purely personal 
matter. 

"For myself," he continues, "I utterly rebel at 
the treatment of sex as a mere matter of physical 
pleasure. I contend that sex appeal does not neces- 
sarily arouse the sex instinct, although it is an urge 
that quickly springs into being." 

Furthermore, Mr. Howard has his own ideas 
about both marriage and divorce. He thinks that 
fifty years from now man may not marry at all. 
But he doesn't think that there should be a special 
marriage code or regulation for professional people. 

"What good would new regulations do?" he asks. 
"They would not make a husband less jealous, nor 
a wife less demanding. The only helpful change 
that can take place will have to be in the mind of 
the husband and wife. But, whether marriage be 
regarded as a sacrament or as an institution, it is 
one of the most difficult and delicate of all relation- 
ships, requiring a maximum of emotional balance 
and patience." 

Personally Mr. Howard has no quarrel with 
either marriage or divorce. Perhaps he feels both, 
under present social conditions, are necessary. 



In a daringly frank interview Leslie Howard 
discusses marriage and divorce in the film 
capital and gives his views on their impor- 
tance to the movie stars 

By MAUDE LATHEM 



"The chief thing wrong with marriage now, as I 
see it," he says, "is our conception of it. What we 
expect from it. Young people today think that 
happiness is the sole aim of life. More and more 
they are taking matters into their own hands and 
doing what they think will make for happiness. We 
can do nothing about this. We can only hope that 
they will absorb something from their association 
with their elders that will help them. 

"But it is their attitude that makes me feel that 
they will continue to change, reconstruct and ar- 
range, going to the furthest extremes in their tests 
to prove whether they even want monogamous mar- 
riage at all. 

"In Hollywood, like every other place, in love 
and marriage they demand that exultation shall 
remain at fiercest blaze every minute. When it 
begins to cool, as it must, they think it is time 
to dissolve the marriage and try another. 

"Certainly I'm not intimating that there will be 
less falling in love than formerly. Young people 
may reasonably expect to fall in love oftener than 
they did a century ago, because there is so little to 
keep them from nursing each small flame into as 
large a fire as it is capable of becoming. But, I 
insist, even though they will inevitably fall in love 
oftener, they will not get as much from the ex- 
perience." 

No one need tell you that Leslie Howard's suc- 
cess on stage and screen has been built on his 
appeal to women — his almost indescribable charm, 



which confuses and intrigues them. Women 
like the way he peers at them quizzically, a 
little aloof, as though he were ready to fly. 
And men like the swift wit of his tongue. 
His subtle, adroit manner of making love, 
one suspects, was not learned from a book, 
and his deep understanding of the signifi- 
cance of marriage did not come from read- 
ing printed slips in Chinese rice-cakes. For 
this reason one can be doubly interested in 
his views on marriage now and fifty years 
from now. 

"Of course," he smiles, "should Mr. Huxley's 
prediction that eventually the continuance of the 
race will be controlled by the state, ever come true, 
then I should say that fifty years from now we 
would have neither marriage (a "ceremony") nor 
a permanent union of any sort. 

"To me, it is nothing short of miraculous that 
there are as many happy marriages as there are, 
when you consider the manner in which marriage 
is often approached. 

"There is so much humbug attached to it. So 
many times it takes place purely because of ro- 
mance. Romance, alone, is the poorest, the least 
sensible of all bases upon which to build marriage. 
Every intelligent person recognizes that romance 
is made up of mystery, wonder, adventure, and is 
necessarily temporary; and unless marriage is the 
result of a deeper understanding there is little hope 
for it. I feel, like Montaigne, that 'marriage has 
for its share usefulness, justice, honor, and con- 
stancy . . . the more durable pleasures.' 

"Yet," he continues, "I would not have my chil- 
dren or my grandchildren, if I am ever blessed 
with any, cheated out of one least bit of romance, 
for the touch-and-go contacts with the opposite sex, 
which spirit the imagination on wildest flights of 
fancy, afford the most fascinating pastime in the 
world. Pastime, I said, but not a foundation on 
which to build a great institution like marriage. 
In the language of a {Please turn to page 48) 



The New Movie Magazine, March, 1935 




HERE'S MY STORY 

I WAS THAT FORTUNATE BEING -A WOMAN 
DEEPLY LOVED. THEN GRADUALLY MY HUSBAND 
CHANGED-BECAME COLD. DISTANT. STUNG BY 
HIS INDIFFERENCE t ACCUSED HIM OF LOVING 
ANOTHER 







@ FINALLY I ASKED MY SISTER'S ADVICE. SHE 
POO-POOHED MY FEARS. "NO OTHER WOMAN" 
SHE SAID "BUT".. . AND THEN SHE TOLD ME I 
HAD BECOME CARELESS — GENTLY WARNED 
ME ABOUT "B.O." (body odor) 




(D I PLAY SAFE NOW_ 
BATHE REGULARLY WITH 
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SO CLEAN-FEELING, YOU 
KNOW "B.O." IS GONE 




(4) TODAY I AM SURE OF MY HUSBAND'S 
LOVE. HOW GRATEFUL I AM TO LIFEBUOY 
FOR ENDING THE FAULT THAT WAS 
TURNING HIM FROM ME 







LIFEBUOY'S GREAT 
FOR THE SKIN/TOO. 



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The New Movie Magazine, March, 1935 




•* * • *• 



MY first impression, meeting Ann Harding for 
the first time, was that she was a living 
Statue of Liberty. 

And, curiously, it persisted throughout our reveal- 
ing talk. Not that Miss Harding loomed like a torch- 
bearing graven image with her head in the sky. Far 
from it! She was definitely and humanly down to 
earth. Yet there was something, perhaps her classic 
ashen hair or the white sweep of her fine brow, that 
recalled the reigning goddess of New York Harbor. 
Somehow, the same free spirit seemed to shine through 
her clear eyes with the light that lasts. 

Her flashing smile soon put me at ease. Frankly, 
I had felt a bit uncomfortable, having heard she 
had not given a magazine interview in three years 
and suspecting, reasonably enough, that she might 
loathe all interviewers. 

"Not at all," she protested. "It was simply that 
I felt I wasn't any good at that sort of thing. I'd 
try desperately to say things that meant something, 
then read that I was a good wife and loving mother. 
Gratifying as it was to learn I possessed those highly 
commendable domestic virtues, I doubted any possible 
absorbing public interest in the revelation, so finally 
decided I couldn't be sure of myself in print." 

Of one thing you may be sure: Ann Harding is 
exactly what you'd expect her to be from seeing 
her on the screen — direct, sincere, understanding. 
Realizing as much, I wondered whether she felt that 
in her film characterizations she could always be true 
to herself. 

"I'm afraid there are times when that isn't quite 
possible," reflected Miss Harding, "but I always try 
to be true to myself. And now that you speak of 
it, the same question came up when I was offered my 
first important Broadway part in 'The Trial of Mary 
Dugan.' I told the producer, Al Woods, 'I'm not 



6 



JUST LET ME 

ACT! 



For the first time Ann Harding explains her three-year 

silence. Rudeness and silliness hurt this woman whose 

motto is, "To thine own self be true " 



Left: Ann's eyes, this author says, 

shine with the light that lasts. Below: 

As you saw her in character in "The 

Biography of a Bachelor Girl." 



Clarence Sinclair Bill. 




By CHARLES DARNTON 



a tart.' 'I know you're not, sweetheart,' he agreed, 
'and that's why I want you for Mary. You'll keep 
the audience guessing and that'll keep up the sus- 
pense.' I suppose that was good showmanship, but 
it wasn't me." 

"Do you think that makes any difference with an 
audience?" I asked. 

"No, not when you're on the stage, but it certainly 
does when you're on the screen," she declared with 
all the emphasis that is in her. "In this medium your 
audience identifies you completely and unreservedly 
with the character you play, does it with child-like 
conviction. People who go to pictures go with their 
minds all made up about you, and if you fail them 
in their idea of you, in what you represent to them, 
they'll never trust you, never believe in you again. 
It's like having a friend who suddenly turns out to 
be a thief. That's not a very good illustration, but 
it may serve to show my point. If you do anything 
in pictures to shake the faith of your audience in you, 
do anything before its eyes that changes you from 
the person it has imagined you to be into an entirely 
different person, it will have nothing more to do with 
you." 

Shut in though we were, away from everybody in 
the portable dressing-room Miss Harding was using 
in the making of the Metro-Goldwyn-Mayer picture, 
"Biography of a Bachelor Girl," that great, unseen, 
unknown, uncertain audience seemed very near, like- 
wise so exacting as to leave her little if any choice 
of her own. 

"I don't mind that," she was quick to say. "After 
all, an audience has a right, indeed the supreme right, 
to its likes and dislikes. This has been, is, and 
always will be true. But there is one thing I do 
mind, and that's loss of privacy. That is too great 
a price to pay for my work, even though I love it, 
making life a nightmare for me outside my own four 
walls. When I came out here I thought it would 
be marvelous, getting away from audiences, escaping 
crowds, avoiding noise, and just working in a studio, 
living in a house, and enjoying country quiet. I was 
very naive." 

Her most becoming wide-brimmed hat blew off 
in a breeze of laughter, then she went on, earnestly: 

"Something ought to be done about these auto- 
graph hunters, for instance. It's by no means con- 
fined to Hollywood," she sighed. "I found that out 
when I went on an airplane trip to Cuba. I'd been 
working hard and felt the need of a rest. But did I 
get one? I did not. Jumping out of the frying- 
pan into the fire would have been light exercise com- 
pared with that gruelling experience. It began right 
here, when four of us boarded the plane, and it went 
from bad to worse. From one airport to another 
where we stopped for fueling the waiting crowd grew 
bigger and bigger, until we seemed to be in the hor- 
rendous glare of a monstrous spotlight drawing mil- 
lions of moths. At last I (Please turn to page 59) 

The New Movie Magazine, March, 1935 



•I 




The MAGIC of 




hhm ■ || map tarn mm 



,' / 



brings J&f color to 




Apparel andfl Home Decorations 




SMART women everywhere are 
using Tintex. These magic tints 
and dyes have become a necessity in 
thousands and thousands of homes. 
In the twinkling of an eye they re- 
store the original color to faded ap- 
parel or home decorations ... or 
give fashionable new color, if you 
prefer. So easy, too. Simply "tint as 
you rinse." Expensive? Not a bit 



Tintex 

AT ALL DRUG STORES, NOTION 
AND TOILET GOODS COUNTERS 



The World's Largest Selling TINTS and DYES 




OF FORTUNE 
OF HONOR 
OF LOVE... 




. . . Ye t he was Clive, 
Conqueror of India . . . 
treasure house of the world ! 



SEE: Clive's"mad"army avenge 
the massacre of "The Black Hole 
of Calcutta" ! First time on the 
screen ! 

SEE: The charge of the battle 
elephants . . . strangest warriors 
in history. . . in the mighty 
conflict at Plassey! 

SEE: Clive crawl through the 
enemy lines at Trichinopoly, to 
become a Man of Destiny! 

SEE: An Indian ruler's human 
chessboard . . . with beauties as 
pawns... and with Death to 
the losers! 

SEE: The duel which convinces 
Clive that he is a Man of Destiny 
. . . A man who cannot die! 



JOSEPH M.SCHENCKpresents 



STARRING 



DAmiF.lAHVCKS production 

INDIA 

]«U^rCOLMAM 

LORETTA YOUNG 




Released thru 
UNITED ARTISTS 



*w'ith Colin Clive . Francis Lister • C. Aubrey Smith • Cesar Romero 
Directed by RICHARD BOLESLAWSKI • Written by W. P. Lipscomb &. R.J.Minney 



Presented by the Producers of "The' House of Rothschild" . . . as their most important Screen Achievement ! 



The New Movie Magazine, March, 1935 




NEW MOVIE MAGAZINE'S 

mm 4 STARS 



TAe New; Movie Magazine, March, 1935 



Eugene Rob't Richee 



GAIL PATRICK was born 'way down upon 
the Swanee River. Hollywood is giving 
her her first chance to play the southern 
girl she really is in "Mississippi," with 
Bing Crosby and Joan Bennett 

9 








William Walling Jr. 



YIP— I— ADDY— I— AY— I— AY! My Heart Wants to Holler 
Hooray! When is a rustle not a rustle? When it's a bustle! 
Mary Boland is "Effie," a naughty siren of 1900 who makes 
bold goo-goo eyes at Charles Laughton and Charlie Ruggles, 
in ''Ruggles of Red Gap." 23, Skidoo! Oh you kid! 



CUirrnre Sinclair Bull 



STAY AS SWEET AS YOU ARE. • • It takes a song title as mod- 
ern as the day after tomorrow to express the charm of 
Gloria Swanson. To Gloria, time means nothing. She is ever 
youthful, to the tips of her slim fingers. How her silver-faced 
slit skirt would have shocked the lady at the left! 



10 



The New Movie Magazine, March, 1935 




Clarence Sinclair Bull 

SHE'S ONLY a BIRD in a GILDED CAGE ... For Youth should 
not mate with Age. Except that, in the Fox film ''The County 
Chairman, " Evelyn Venable doesn't mate with Age, but with 
Kent Taylor, the very same lad with whom she's been mating 
in her last half-dozen pictures. 



YOU and the NIGHT and the MUSIC . . . And again we have 
to go to the song-hits of today to match the modernity of 
Carole Lombard in a gown designed to give the illusion of 
hammered silver. A girl of the 1900's would have swooned 
at the mere mention of Carole's new picture, "Renegade." 



The New Movie Magazine, March, 1935 



11 




Kenneth Alexander 



RONALD COLMAN waits until he can make the kind of picture he wants to make. "Clive of India" brings him to you, minus his 
mustache, as the clerk who rose to command all the armies of England and add India to the British Empire. History — and true. 



12 



The New Movie Magazine, March, 19S5 




WHILE ON THIS PAGE, in stark contrast to the ruffles and lace of 
soldier Ronald Colman, Paul Muni wears the grimy overalls of the 
men who risk their lives deep In the coal mines. "Black Fury" is the 
picture, and the small insert shows you a scene from it in the making. 



The New Movie Magazine, March, 19S5 



13 



K-y 




■ 



Clarence Sinclair Bull 

SONGBIRD, AMERICAN STYLE: It would be hard to imagine anyone more unlike Evelyn Laye, 

across the page, than our own Jeanefte MacDonald. As vivacious as her own red hair, Jean- 

ette plays every part that is given her with a twinkle in her eye — and a naughty twinkle! So it 

isn't surprising that her new picture is called "Naughty Marietta." 



14 



The New Movie Magazine, March, 1935 




RueteU Ball 

SONGBIRD, ENGLISH STYLE: We refuse to get angry over that much-talked-of invasion of 

British stars as long as they look like Evelyn Laye. She has the charm — poised, quiet, and 

restrained — which Leslie Howard has as a man. A newcomer to most of us, her pictures 

to date are "Evensong," "Princess Charming," and "The Night Is Young/' 



The New Movie Magazine, March, 1935 



15 







FRED ASTAIRE the boy who 

dances. And how he dances! 
The whole world is talking about 
it. We told you he was going 
up, and he's going up fast— faster 
and faster. "Roberta," with lots 
of music and dancing and pretty 
girls and rapid-fire chatter, is the 
picture you'll find him in next. 
And it's sure to add to the laurels 
Fred won in "Gay Divorcee." 



16 



The New Movie Magazine, March, 1935 




RUDY VALLEE ... the boy who 
singsl And how he sings! Croon- 
ers may have become a national 
target for bricks and no-longer- 
youthful eggs, but Rudy goes 
on crooning and makes 'em 
love it. v 'Sweet Music," is what 
you'll be seeing him in (not the 
funny-papers) and in the small 
photo we show him disguised as 
none other than Rudy Vallee. 



The New Movie Magazine, March, 1985 



17 



By 
SAMUEL GOLDWYN 

as told to Eric L Ergenbright 



WOMEN RULE 



WHY do you emphasize romance and 
glamour and beauty so heavily in your 
pictures? Why do you invariably favor 
love stories when there are other human emotions 
just as suitable for drama as love? Why do you 
stress emotionalism? Why do you avoid grimness 
and cruelty and sordidness and all of the other 
harsh but ever-present aspects of everyday life?" 

If I have been asked such questions once, I have 
had them put to me a thousand times. And the 
answer is very simple: 

Women rule Hollywood! 

Any producer who disregards the established 
preferences of women is committing professional 
suicide. His pictures may be the product of genius. 
His actors may have the talent of Bernhardt, his 
director the finesse of Reinhardt, his scenarist the 
power of Shakespeare — but, unless the finished pic- 
ture possesses that elusive quality called "feminine 
appeal," it is certain to fail at the box office. 

I am ready to grant that life can be grim and 
cruel. In fact in my own experience I have too 
often found it so. But women are idealists, not 
realists. They are emotionalists, not analysts. And, 
since I have no wish to be a professional suicide, I 
try to produce pictures which will suit their tastes. 
Like most veteran showmen, my first instinct is to 
please the women in the audience. Women have 
always ruled "show business." 

The average motion picture theater audience is 
more than seventy per cent feminine! In the average 
matinee audience, women predominate by an even 
larger majority. These figures, which are the find- 
ings of actual surveys and not haphazard estimates 
of my own, speak for themselves. Without the 
steady patronage of women, theaters and studios 
could not survive. 

Still more important in establishing woman's rule 
over the motion picture industry is the fact that 
women almost invariably are the arbiters of their 
families' entertainment. Wives select the shows 
that their husbands take them to see. Unmarried 
girls dictate the shows for which their escorts buy 
tickets. Mothers select the screen entertainment 




for their children. And, in every case, the picture 
selected reflects the woman's tastes. 

It is the woman who cons the drama page and 
reads the theatrical advertisements, while her hus- 
band, after glancing over the financial section, 
turns to the sports pages and checks up on his 
favorite football or baseball team. He knows from 
experience that his wife regards a motion picture 
as her outing and that she will determine which 
show they shall see. Show me the husband whose 
occasional objections have not been overruled in 
some fashion as this: 

"I didn't say one word last Sunday when you 
wanted to play golf. I think you might at least 
take me to the show that / want to see!" 

Naturally, most theater owners and most pro- 
ducers, being convinced from first hand experience 
that such an argument is irresistible, "slant" their 
advertising to attract women. Check up on the 
theater ads in your current newspaper and note how 



many feature the words "love" or "romance." 

"Please the women and they will bring the men 
to the theater" — that is one of the oldest and most 
dependable rules for theatrical success. 

It is women who are largely responsible for the 
so-called "star system" in the studios. They are 
much more inclined than men to become dyed-in- 
the-wool fans of the sort who idolize their favorite 
screen personalities, and flock to see the pictures 
made by those stars without bothering to ask what 
the pictures' plots may be. Such fans are the very 
backbone of the motion picture industry. Holly- 
wood produces, each year, approximately 600 fea- 
ture length films and it is difficult to find that many 
worthwhile stories. Without the feminine tendency 
to consider personalities first and plot second, pic- 
ture making would be far more risky and far less 
profitable. 

Men, no matter how much they enjoy seeing 
pictures, are by nature, and by training and habit, 
much more analytical. No matter how brilliant the 
cast, they are quick to detect and condemn story 
flaws. Instead of asking, "Who's the star?" they 
are more apt to demand, "What's the picture 
about?" The average man likes a western ... or a 
costume picture ... or any other type of story which 
appeals to his particular taste; the average woman 
likes any picture in which her favorite stars appear. 

Not only "matinee idols" of the masculine per- 
suasion but almost all outstanding feminine 
stars owe their stardom to the women in the 
audience. Women, even more eagerly than 
men, flock to see the screen's beautiful women 
— especially if those stars are pronounced in- 
triguing by Mr. Average Man. "What makes 
them glamorous?" . . . "why do men find them 
intriguing?" . . . and women rush to the thea- 
ters to seek the answers to those questions. 

Norma Shearer, I believe, is the greatest 
"woman's star" in screen history. For every 
one man who is her ardent fan, she owns the 
allegiance of at least five women. Norma 




Shearer, poised, intelligent, superbly gowned, so- 
phisticated, beautiful, is to the average woman the 
very epitome of feminine charm, the personifica- 
tion of all the qualities which the average woman 
longs to possess. Furthermore, her pictures have 
been deftly and deliberately tailored to appeal to 
women. On the screen, she has moved continually 
through an ultra-glamorous world of sophisticated 
romance. She has challenged, in her pictures, the 
convictions which most women obey — and secretly 
resent. She has starred in dramas based upon the 
problems which are understood, felt and shared by 
most of the women in her audiences. Of course, she 
has many masculine fans — but the majority of men, 
I believe, have resented such pictures as "Strangers 
May Kiss." But, resentful or pleased, they never- 
theless have seen them — for women select the 
family's entertainment. 

Greta Garbo is another star who appeals far 
more to women than to men. Test my statement 
by taking a straw vote in any mixed gathering. You 
will find that almost every woman present will list 
her as a prime favorite — but that few men will 
include her name. Women like her because her pic- 
tures, like Norma Shearer's deal with their prob- 
lems, and because her personality suggests exotic 
romance. The average woman's life is so cramped 
by the four walls of her home that she longs for an 
escape from routine and finds it, vicariously, in such 




(Extreme left) Chaplin, Cantor, Lloyd . . . deans 
of comedy because their pathos makes women 
want to "mother" them. (Center) Anna Sten 
has uncanny ability to stir women's emotions. 
(Above) Gloria Swanson did it with gowns. 

Men see the shows 



18 



The New Movie Magazine, March, 1935 



HOLLYWOOD 



If the men had their way, we'd 
have more slapstick comedy and 
adventure stories on the screen. 
Perhaps we'd have a different 
kind of star altogether from those 
shown below. If you're tired of 
love and problem pictures, blame 
Mrs. and Miss America! 







Norma Shearer . . . greatest women's star ever. 

pictures as those which Garbo has made famous. 

Gloria Swanson was a great woman's star and 
she was shrewd in strengthening her appeal to 
women by wearing lavish costumes. Thousands of 
women stood in line to see her pictures — and her 
clothes. Thousands of women, every day, attend 
theaters — and conscript their husbands as escorts 
— because they want to see the styles which are 
being created by Hollywood's designers. And never 
think that motion picture producers, knowing the 
preponderance of feminine theater attendance, are 
blind to the importance of "dressing" their stars. 
A beautiful star, who has the knack of wearing 
beautiful clothes to the greatest advantage, is a 
recognized asset coveted by every studio. 

Joan Crawford would be listed as a "favorite 
star" by many men, yet I think that she owes her 



It is women, too, who adore the exotic Garbo. 

tremendous popularity to the fact that she is an 
idol of the world's working girls. She represents 
the girl that they want to become — and her own 
life story, which is one of struggle and achieve- 
ment, confirms her hold on their admiration. 
Recall and analyze her most successful pictures 
and you will find that they were tailored to fit, 
that they dealt with, and lent glamour to, the 
problems of America's working girls. 
Anna Sten, I think, is destined to become one of 
the great women's stars, for she has uncanny ability 
to awaken emotional response in women. To date 
she has appealed to women more than to men. 

In what, principally, do the screen entertainment 
tastes of men and women differ? 

Chiefly in the fact that women are idealists and 
men are realists. Women are more concerned with 
the emotion than with the sequence of dramatic 
situations which give the emotion birth. They see 
pictures with their "hearts," whereas men see them 
with their "minds." 

Both men and women are interested in love 
stories, for love between the sexes plays an im- 
portant part in every normal life. Yet, in the life 
of the average woman love looms larger than in the 
life of the average man. The masculine audience 
does not demand love as the central theme of every 



Joan Crawford . . . giving glamour to the girls. 



picture; the feminine audience does. If men, 
instead of women, comprized three-fourths of the 
screen's audience, you would see the screen 
flooded with stirring adventure stories, many of 
them entirely lacking in love interest. 

The magazine rack in every corner drug store 
reflects the difference in feminine and masculine 
entertainment tastes. The hundreds of "pulp" 
magazines are published for masculine consump- 
tion. Their stories drip action and adventure. 
Few of them contain any mention of love. Their 
heroes are red-blooded, two-fisted go-getters. The 
women's magazines, on the contrary, favor stories in 
which love is the predominant theme — and love, in 
every story, is idealized. Compromising the two 
extremes are "general" magazines. They bid for 
popularity with both sexes — -and that, of course, 
is just what Hollywood tries to do in selecting its 
screen material. But Hollywood never loses sight 
of the fact that women are its greatest audience, 
and, in every case, the canny producer favors their 
established tastes. 

Traditionally, men love comedy. Being realists, 
they are quick to detect and appreciate exaggera- 
tion. They laugh at "slap stick" which leaves the 
woman's sense of humor untouched. 

Yet, even in its comedy-making, Hollywood de- 
fers to woman's rule. The great comedians in 
screen history are those who have appealed to 
women, and, in every instance, you will find that 
the secret of their appeal is the flavor of pathos 
which is ever-present in their fun-making. Charles 
Chaplin, Harold Lloyd and Eddie Cantor are the 
deans of screen comedy because women like them. 
There is a wistful, pathetic, helpless quality in their 
portrayals which arouses in the average woman the 
"mother complex." They are funny, yet lovable. 
They exaggerate, yet in {Please turn to page 53) 



women pick. Women audiences make and break the stars 



The New Movie Magazine, March, 1935 



19 



CONNOLLY the Courteous 

No star zooming to fame overnight is Walter Connolly, but a capable, steady actor whose work, 
in picture after picture, has attracted nation-wide interest to him. Elsie Janis tells you about him. 



I HAVE watched him climbing steadily for 
eighteen months. Not a very long time when 
you consider that he has reached that realm of 
security which is the reward of consistently good 
performances. No great smashing overnight suc- 
cess. No stampede of electricians to put his name 
in lights on the theater marquees and therefore no 
rush to take it down a few months later if by chance 
he had appeared in a couple of disappointing pic- 
tures. When Mr. New Movie told me that Walter 
Connolly's popularity with the film public called 
for an article I was very pleased. You see, I 
write about the personalities that you ask ques- 
tions about and I must say, so far our tastes coin- 
cide. It will be tough on all of us the day they 
ask me to write about some one I don't like. 

My first meeting with Walter Connolly was im- 
pressive. He is the only actor I ever met in the 
executives' dining-room at Columbia studios. He 
looks like most anything in the 
world but an actor, so I sat won- 
dering if he might be one of those 
bankers who are supposed to come 
to the aid of the Industry now and 
then, or if perchance he might be 
some famous and expensive im- 
ported author. Columbia's dining- 
room is one of the few places where 
I become a listener. 

The President, Harry Cohn, who 
has pushed Columbia from a shoe- 
string organization into the "big 



A 




boots with a kick in them class," sits surrounded 
by assistants and writers. The food is good. The 
dialogue is better. Mr. Connolly is a man of keen 
perception. He joined me in the art of listening. 
If you keep quiet long enough in a free-for-all 
battle of wits, some one becomes suspicious and 
you are asked a question. When Harry Cohn 
asked Connolly how he liked his part in the new 
picture I was frankly disappointed. He looked 
like such a nice plain sort of family man. He 
sounded like one when he made modest sugges- 
tions about some changes in the story which he 
thought might improve it. I left him there and 
went on my way wondering how long he would be 
able to make himself heard above the hustle and the 
bustle of Cohnized Columbia, where opinions usu- 
ally call for arguments, arguments demand "sound 
effects" and the result is often a swell picture. 
When I saw the film they had discussed at lunch 

Mr. Connolly's sug- 
gested changes in the 
story had been fol- 
lowed. Wonders never 
cease in Hollywood. 
Of course he had been 
hard to get and any- 
one who enters films 
reluctantly is apt to be 
listened to. There is 
always the hope that 
some film-shy stage 
player will be able to 
explain the refusal of 
sure fire big dough in 
pictures for the com- 
paratively small cakes 
of the theater. Mr. 
Connolly was coaxed 
out to Hollywood first 
in the Summer of 1932. 
I presume that he 
thought he might as 
well spend the Sum- 
mer dabbling in the 
The Captain Hates the golden sands of Cin- 

Sea, but he doesn't. 




emaland. It might be just as good sport as fishing. 
It apparently was, only Mr. Connolly got hooked. 
They gave him a long line, however, for he returned 
to Broadway and a great success in the Fall. All 
winter he played in "The Late Christopher Bean." 
Came Summer and they reeled him in. That's when 
I saw him at Columbia. A shy and cautious catch. 
Since then he has been leaping like a salmon, from 
role to role. 

So far I have not seen him play Walter Connolly 
on the screen. Early training in stock and reper- 
tory has taught him that acting means losing one's 
own personality in the character drawn, not wear- 
ing said character lightly, as a cape under which a 
player's own mannerisms and expressions can be 
seen constantly. In the last year he has been 
Spanish, Irish, Yankee, English. In tones dulcet 
or domineering. In backgrounds rural or sophis- 
ticated. From a lowly night watchman to a pomp- 
ous millionaire is but a mental step for him. His 
success makes me wonder whether it isn't wise to 
set the public guessing what the actor is really like 
off the stage or screen, instead of allowing no doubt 
to exist as to what he is going to be like the next 
time he appears. 

I believe he had already signed a long-term con- 
tract the day we met at lunch, which makes his 
being listened to come even more under the head- 
ing "Strange Happenings in Hollywood," but in 
his contract there is a "time out for stage play" 
clause. He is taking that time out now. It's mostly 
time in for rehearsals. I went last week to watch 
him in action. He is enjoying his "vacation." No 
dialect. No hirsute adornments. The role calls 
for Connolly to be himself and he can't quite re- 
member what he was like before he took up the 
chameleon's existence his versatility has demanded 
in films. I was told it would be difficult to "get at" 
Mr. Connolly for at least three weeks. He had 
been ill. He was rehearsing. He was very busy. 
The more reasons they had for my not seeing him 
the more I had for wanting to. 

Granted that the way to a man's heart is via his 
stomach, the way to a happily married man's heart 
is via his wife. I called up Mrs. Connolly. "I'm 



Walter with Mrs. Connolly. "The more 
I see of successful wives," says Elsie, 
"the more I know why they are a suc- 
cess." Mrs. Connolly is a fine actress, 
known on the stage as Nedda Harrigan. 





"Whom the Gods Destroy" was notable chiefly for 
Walter Connolly's splendid work. 



Walter with the perpetually jolly Guy 
Kibbee in the picture 'Lady for a Day." 



20 



The New Movie Magazine, March, 1935 




"He looks like anything but an actor. He might be one of those bankers who are supposed to come to the aid of the industry 



sorry to hear Mr. Connolly has been ill," I said, 
"but I wanted to — " 

I got no further. "He's feeling much better since 
hearing that you telephoned," said the charming 
Mrs. C. "He's right here and wants to talk to you." 

The more I see of successful wives the more I 
know why they are a success. I made a date to 
go to rehearsal that same afternoon. He was in the 
midst of a scene when I arrived on tip-toe. He 
saw me as I signalled, "Pay no attention to me." 
He finished the scene and welcomed me gently. I 
still say that he seems like a nice plain business 
man. By plain I don't mean homely. He is dis- 
tinguished looking and a much younger man in ap- 
pearance than we have yet glimpsed on the screen, 
but there is evidently so much good acting in Con- 
nolly, the actor, that there is none left for Con- 
nolly, the man. 

He led me across the footlights and out into the 



darkened theater. "This is quite a mad play," he 
said. "I shall be glad to know what you think of 
it. I must get back on the stage. I'm in this 
scene." 

He had not stopped the rehearsal. Again I was 
impressed. It is a star's privilege to stop and start 
things. He went quietly back to a chair at the 
side of the stage and waited for his cue. No up- 
setting other players by sitting out front talking 
with the tip-toeing stranger while they struggled to 
memorize their new roles. 

Mr. Connolly is decidedly of the "old school" 
when it comes to manners, which makes it difficult 
for the new school to believe he could steal pictures 
as he does without a struggle. Vocal or physical. 
His schoolmates in the theater were all "who's 
whosers." Sothern and Marlowe. Henry Miller, 
Margaret Anglin, Pauline Lord, Ruth Chatterton, 
Helen Hayes. Some of these were his teachers no 



doubt. Knowing his background I cannot blame 
him for being a bit doubtful about bringing his 
"memory box" into the film foreground where a 
cameraman is the most severe critic and a micro- 
phone can make or break you no matter what school 
you attended. 

Incidentally when young Connolly stepped over 
family objections and into the theater he was less 
than twenty. He must have been a bright boy 
having already attended St. Xavier's College and 
the University of Dublin. Further proof of youth- 
ful sagacity was his walking out of a cashier's cage 
in a Cincinnati bank to follow "his secret heart" 
which was at that time a chap who has not yet made 
the grade in pictures, William Shakespeare. I 
would like to see Connolly as Shylock when, if ever, 
the "Merchant of Venice" is filmed, but then I 
would like to see Greta Garbo as Portia, so think 
no more about it. {Please turn to page 59) 



The New Movie Magazine, March, 1935 



21 



ARS 



OF YESTERDAY 





De Mirjian 



Norma Talmadge 



Constance Talmadge 



Puffer 



Where are they now? What do they do? 
What has become of them? 

By HAL HALL 




Grow old along 

with me, 
The best is yet 

to be; 
The last of life 
For which the 

first was 

made. 



t: 



William S. Hart, the 
two-gun western hero. 



*HERE is a world 
of comfort in 
those few simple 
lines for the average 
man or woman who 
realizes that time has 
been passing and that 
the autumn of life is just around the corner. 

To most of us the final chapter is the best. It 
is rich in happy memories of the past, and there 
is a quiet restfulness about our declining years, 
much like the balmy atmosphere of a lazy day 
in late October when the many-colored leaves whirl 
idly to the ground beneath the warm sunshine of 
Indian Summer. 

But — here in Hollywood today there is a group 
of two hundred and seven men and women who 
smile bitterly when you try to tell them of the 
sweetness of the future. To them the past is but 
a mass of memories that rise up like ghosts and 
mock them. They are tearful memories of fleeting 
glory; of the acclaim of fickle millions. 

This is a little group that time has passed by; 
upon whom Fortune smiled for a brief moment 
and then like a March wind swept them aside and 
tossed them into a little corner of the world called 
Hollywood — to be forgotten. 
They are men and women who helped make the 



Antonio Moreno, 
at right, appeared 
in "The Benson 
Murder Case" af- 
ter a long absence 
from the screen. 

Otto Dyar 

• 

Once the rush to 
see Eugene O'Brien 
was so terrific that 
women fainted, 
fighting their way 
into theaters. 



picture business the vast enterprise it is today; 
men and women who once were numbered among 
the most famous players of the screen; whose 
photographs were eagerly sought by hundreds of 
thousands of worshiping "fans" who today have 
perhaps forgotten the very existence of- their one- 
time idols. 

And now . . . this little group of former picture 
greats — once the toast of the multitude — are ask- 
ing humbly for "bit" and "extra" work . . . yes, 
even, in many cases, for merely a day's work 'as 
plain "atmosphere" . . . and "extras" under the 
new NRA code will be paid but $7.50 per day. 

Still, these glorious pioneers of the screen are 
glad to have the opportunity of honorably stepping 
forth among the thousands of youthful newcomers 
and earning this mere pittance. But the sad fea- 
ture of the situation is not so much the fact that 
they are reduced to such work . . . but it is the 
fact that although they have been the idols of the 
millions they find it difficult to gain the ear of the 
casting officials, and next to impossible to obtain 
the privilege of working as cheap "atmosphere" 
where they once played as stars. Baby-faced girls 
with bobbed hair and over-painted cheeks, and 
sleek young men with waxed mustaches and a long 
list of attractive telephone numbers are getting the 
call over these "troupers." 

In this business where attention and eyes are 
centered on the new faces of today, this group of 
old-timers perhaps would have gone on to the end 
without notice had it not been for a little band 
of rarely mentioned workers — the members of the 
Assistant Directors Section of the sorely crippled 
Academy of Motion Picture Arts and Sciences. 

These men revealed the plight of the former 
celebrities when, after vainly trying to hire them 




— only to be met by a blank wall of red tape — 
they appealed to the Board of Directors of the 
Academy to help them secure permission from the 
producing companies to hire these people direct, 
rather than through the Central Casting office. The 
Assistant Directors presented a letter to the Acad- 
emy Board which speaks worlds. Here it is: 

"Working as Assistant Directors, we come into 
daily contact with hundreds of people who desire 
work as "extra" and "bit" players. Among these 
hundreds there ofttimes appears a once favorite 
star, a former famous director or, possibly, a one- 
time high executive whom the times have passed 
by. 

"In many cases once the favorites of millions of 
the theater-going public, these people have since 
found themselves dependent upon what they may 
be able to earn in the more menial positions within 
the industry. 

"We have compiled the attached list, containing 
200 names of industry pioneers who are now work- 
ing as 'extra' and 'bit' players. There are in every 
production certain scenes in which some or all of 
these people might be used to the advantage of 




Above: Francis X. Bushman and Beverly 
Bayne in the silent thriller, "The Great 
Secret." Bushman, shown at the left in a 
close-up, was at one time the screen's 
greatest lover, the Clark Gable of his day. 



22 



The New Movie Magazine, March, 1935 




Ruth Roland 



Blanche Sweet 



Wide World 



Bessie Love 



Betty Blythe 



Lillian Gish 




Perhaps better than any of the others these two pictures 
demonstrate the tragedy of stardom in the cinema city. 
A child star can fade as rapidly as a grown-up. You 
do not have to be more than a youngster yourself to 
remember Baby Peggy. She was Jackie Cooper and 
Shirley Temple rolled into one. The key to every city in 
America was hers. Now, only a few years later, she is 
vaudeville, and trying a comeback in pictures. 



the company, due to the fact that every 
person is an experienced motion picture 
'trouper,' as well as enabling these who 
have given so much to the industry in 
the past to earn a living in the only 
business with which they are familiar. 

"We request the Board of Directors 
of the Academy to communicate with 
the various producing companies with 
a view to obtaining for us as individual 
Assistant Directors the necessary au- 
thorization to directly call any of the 
people named on the attached list (and 
others of the same classification who 
may by reason of circumstances be 
added from time to time by the Sec- 
tion) for 'extra' and special 'bit' work 
which their past experience or present 
characteristics would enable them to 
handle satisfactorily in preference to 
any other person or group, all other 
qualifications being equal." 

Perhaps the most outstanding name 
on this remarkable list is that of Clara 
Kimball Young. It was just nineteen 
years ago this past October that a mo- 
tion picture magazine announced the 
winners in a "Great Artist Contest" 
which it had conducted to determine 
who were the most popular male and 
female stars of the screen. 

AND — Clara Kimball Young led all 




in 



the women with a grand total of 442,340 votes. 
Her nearest rival was that great star, America's 
sweetheart, Mary Pickford. But Mary was 4,670 
votes behind Clara. And far down the list behind 
Miss Young were such names as Anita Stewart, 
Blanche Sweet, Norma Talmadge, Ethel Clayton, 
Pearl White, Mabel Normand, Anna Q. Nilsson, 
Ruth Roland and Lillian Gish. Even that mag- 
nificent star, Norma Talmadge was 326,580 votes 
behind Miss Young. I ask you, was Miss Young 
a star? 

Seventh on the list was Florence Lawrence, with 
a total of 188,975 votes. But she, like Miss Young, 
has been tossed about by the ill-fortunes of the 
picture business and is on the list that asks even 
"extra" work. 

Eleventh in the contest was Florence Turner. 
She also is on the old-timers "extra" list of the 
assistant directors, although she scored heavily over 
many of the biggest names even of today with a 
popular vote of 151,965. 

Bessie Eyton and Flora Finch were also among 
the first one hundred in the contest, and they are 
struggling with the mob for a day's work; glad to 
break into their only profession rubbing elbows 
with the kids through the "extra" ranks. 

Among the men who were honored in that con- 
test nineteen years ago was a player named Harry 
Meyers. He received thousands more votes than 
did such stars as Owen Moore, the beloved Wallace 
Reid, Henry Walthall and even that matinee idol, 
Harold Lockwood. But today Harry is listed with 
the other 206 old-timers as wanting "extra" work, 
and the assistant directors are fighting to help him 
gain the privilege of swallowing his pride, of for- 
getting his days of stardom and going to work for 
seven dollars and fifty cents a day — gladly. 

Here is the complete list as compiled by 
the Assistant Directors and presented to the 
Academy : 

Jean Archer, Frank Alexander, Chris Allen, 
Rose Cade Amos, Rollie Asher, Sylvia Ashton, 
Eddie Baker, Bobby Barbara, Bob Barnes, Jay 
Belasco, Alice Belcher, Eddie Benaudy, Edward 
Allen Biby. Betty Blythe, Marjorie Bonner, Joe Bor- 
deau, Ed Brady, Teddy Brooks, Edmund Burns, 
Neal Burns, Robert Cain, Mary Carr and children, 
Louise Carver, Helene Chadwick, Kathleen Cham- 
bers, Edith Clark, Fred Clay, Lillian Clays, Mabel 
Coleman, Buck Connors, Constance Cornelius, Nell 
Craig, Frank Crane, Grace Cunard, Sid D'Albrook, 
Joe De Grasse, Jim Donnelly, Charles Dunbar, 
Bud Duncan, Harry Dunkison, Bobby Dunn, Jim- 
my Dunn, Irene Duval, Bill Dyer, Neely Edwards, 
Billy Elmer, Madge Erwin, Bessie Eyton, Elinor 
Fair, Jim Farley, Maude Fealy, Flora Finch, Art 
Flavin, Francis Ford, Art Foster, Billy Franey, 
Bill Franz, Charles French, Dave Friedman, Ray 
Gallagher, Pauline Garon, Laura George, Charlie 
Gibbon, Helen Gibson, Bill Gittinger, J. W. Good- 
win, Mr. Grooney, Kit Guard, Creighton Hale, 
Ella Hall, Oscar Hall, Ray Haneford, James Harri- 
son, Mark Harrison, {Please turn to page 53) 



The New Movie Magazine, March, 1935 



23 







BELOVED BY YOUNG AND OLD, the man who brings the whole family to 
the theater, holding his own in popularity against all the handsome 
young heroes, Will Rogers comes to you next in "The County Chairman." 
Insert: Left to right, Mickey Rooney and shiner, Mr. Rogers and stogie. 



The New Movie Magazine, March, 1935 




Gertrude Messinger, John Bed, Betty Grable, Anne Shirley, Tom Brown, Mary Beich, Erik Rhodes and 
Virginia Reid at a luncheon Miss Shirley gave at the RKO dining-room recently. 



Stars at Play 

All Hollywood goes to the Annual Guild Ball; W. S. Van Dyke has a house- 
warming; Helen Mack's surprise party; Warner Baxter's Sunday tennis matches 



By GRACE Kl NGSLEY 



Jack Oakie, Sue Carol 
and Helen Mack, at 
Helen's birthday party. 
(Right) Dolores Lee 
Prinz gives a birthday 
party, too. 



IF you chance to be messing around in South Africa 
or Labrador or any of those far-off places, and are 
looking for W. S. Van Dyke, you are going to be 
disappointed. For M-G-M has promised not to send 
him into the wilds to make a picture again for a long, 
ong time. And he is more than ever entrenching him- 
self in his Brentwood Heights home. 

The new party room just about settles it, we think. 

Van gave a grand 
party to initiate it. 
Just to commemorate 
his many voyages, he 
has had the room 
made like a ship's 
saloon, with a cozy 
little bar at the end. 
There are port holes, 
little tables, long up- 
holstered seats and 
everything, all ship- 
shape. 

And the bar is the 
oddest one to be 
found in all movie- 
land. Its counter is 
an aquarium, outfit- 
ted in the traditional 
style with little cas- 
tles, seaweed gardens, 
and many kinds of 
tiny fish. 

Jack Oakie de- 




clared he had heard of "drinking like a fish,'" 
and he was all for mixing a drink for the finnies 
and pouring it in, but Van Dyke ruled that the 
fish were really entertainers and it was against 
the law to serve drinks to entertainers. 

Despite the fact that Jean Harlow's husband is 
in Europe, and divorce proceedings are under way, 
and that Jean is seen everywhere with Bill Powell, 
she sees no reason for letting her tact desert her 
when somebody happens to refer to Bill in a special 
way. 

So, when somebody said to Jean at the party, re- 
ferring to the buffet supper, "Has your husband 
gone to get you food?" — meaning Bill, — Jean 
answered sweetly, as the confused lady apologized 
for her mistake: "I think you have paid me a very 
great compliment!" 

Ruth Mannix helped Mrs. Van Dyke, our host's 
gracious mother, to entertain. Dashiell Hammet, 
the writer, created quite a sensation with his frank- 
ness, that night. 

When his secretary introduced him to one group, 
he remarked: "Who are all these people you are 
introducing me to? I don't know them!" 

But when he met Billie Burke, he met his Water- 
loo. He said to her: "Your face looks familiar, 
somehow!" 

She answered him sweetly, with a disarming 
smile, "Well, yours doesn't, but your impudent dia- 
logue does!" 

Whereupon the writer knelt at her feet during 
the rest of the evening. 



Alexander Pantages, Frank 
Mastroly, Marie Gambarelli, 
Dan Kelly at Mastroly's left, 
Eole Galli, Henry Hull, June 
Clayworth, Mrs. Armetta, Miss 
Armetta and Henry Armetta, 
who gave the spaghetti dinner. 



HELEN MACK was most oblig- 
ingly surprised, at the party 
which her mama gave her on her 
birthday. Of course the surprise 
didn't go quite the siss-boom-bah way 
it was supposed to, because Helen sim- 
ply wouldn't be lured away to the 
Cocoanut {Please turn to page 54) 



The New Movie Magazine, March, 1935 



25 



A FRIEND 

I TREASURE 



By GARY COOPER 




The study of Guy Standing, above, was drawn 

by Gary. Gary was at one time a newspaper 

cartoonist, as you probably know. 




26 



An intimate story of 



YOU may have noticed that I drew 
two sketches to illustrate this story. You 
see, this is the first time in my life I have 
ever written a story about anything or any- 
body, particularly about someone whose friend- 
ship I value. So the sketches are for the bene- 
fit of those who can't quite get the drift of my 
initial literary effort . . . and the story is for 
those who can't quite get the drift of the 
sketches. 

If I were a great deal more articulate than 
I am (and I've never been accused of glibness 
in expressing myself) I still doubt that I would 
be able to do justice to the charm of this man 
with whom I have worked . . . with whom I 
have stretched legs lazily before the roaring 
fire, and whom I have gradually come to know 
as one of the most colorful personalities Holly- 
wood has to offer. 

I am proud to call Sir Guy Standing my 
friend. His interest and his curiosity about 
his fellow man know no bounds, but I believe 
his friendship is given to few. Certainly ours 
has been a process of evolution and typical 
British unhurriedness that began when we met 
casually during the first days of "Now and 
Forever," but did not really gain momentum 
until that mutual adventure, the filming of 
"The Lives of a Bengal Lancer." 

Frankly, I knew very little of Sir Guy the 
day we shook hands over the curly head of 
little Shirley Temple. Naturally I knew his 
distinguished reputation in the theater of two 
continents . . . the long and successful tours 
he had made with Jane Cowl in "The Road to 
Rome" and "Jennie." I had seen him in "The 
Road to Rome" and later in "Cynara" when 
those companies played Los Angeles. I heard 
Paramount was interested in signing him for 
the screen. But the deal did not actually go 
through until almost a year later when he 
suddenly decided against opening a new 
Broadway show in favor of Hollywood. 

Though he had been on the Paramount lot 
several months in the making of such pictures 
as "Death Takes a Holiday," "Cradle Song" 
and several others, we did not meet until "Now 
and Forever" went into production. 

I wish I could promise to tell you "all about" 
him now. But that would be highly pre- 
sumptuous and an exaggeration on my part. 
Getting to know Sir Guy is like drinking a 
highball in London. Just as one Scotch and 
soda will suffice a British gentleman for an en- 
tire evening, so will one incident, one event, 
one confidence gained be sufficient unto the 
meeting between friends . . . when one of 
them is Sir Guy. 

Because describing his ap- 
pearance is far easier than 
catching his personality on 
paper, I can step out quite 
boldly and say that he is one 
of the finest looking men I have 
ever seen. In years he is well 
over the fifty mark and there 
are two hundred pounds of 
muscle and brawn perfectly dis- 
tributed over his six-foot 



Immediately at the left is a 
photograph of Standing. At 
the right is a charcoal sketch 
of Gary drawn, to return the 
compliment, by Sir Guy. 



The New Movie Magazine, March, 1935 



an inspiring friendship between two famous movie stars 



physique. His hair is thoroughly grayed, but 
neither the color nor the expression of youth has 
left his eyes. His are the most alert eyes I know. 
Everything and everyone are a source of interest to 
him . . . even Hollywood. He once told me as we 
lunched in my dressing-room during the early 
stages of our acquaintance (when we were feeling 
each other out to see if we really liked each other 
as well as we suspected we did) that he considered 
Hollywood a fascinating adventure. In his clipped 
British accent he said he didn't see how it was pos- 
sible to be bored here. Which is certainly a fresh 
slant to man}' who have complained of Hollywood's 
"stateness" and "small town spirit.'' 

I remember I once said to him when things had 
been going particularly badly on location: "Why 
in the world do you fool around in this crazy racket 
when you could lead any kind of life you want 
. . . the stage in London or on Broadway . . . 
the life of a country gentleman . . . devote your- 
self to your painting or your music . . . anything 
vour heart desires?'' At that moment / was think- 
ing about Africa and shooting trips and intriguing 
names and places far removed from Hollywood. 
He said, his eyes crinkling at the corners: 

'"But that is only playing at life. Behaving as if 
a novelist wrote you, don't you know!" 

This from a man who could have any life he 
chose, who merited Knighthood by the King of 
England, who fought with distinction in the war 
and who understands music and art as few men 
do, gave me a new respect for my profession . . . 
and more than partially explains why Sir Guy is in 
Hollywood now. He doesn't have to be. Money 
has long since ceased to be any part of an incen- 
tive to him in anything. Soon after the war there 
was a period when he decided to retire from the 
stage and during that time he made a fortune. He 
was one of a syndicate which bought up all the 
motor transport equipment which the United 
States left along the Rhine. Later they took over 
the British war motor transport. 

"... took us over nine years to get rid of the 
lot . . . seventy millions it cost us and we got a 
few more than that for it . . . tractors and that 
sort of thing. Sort of set me up for life . . . which 



is a more or less uninteresting outlook, what?" 

But I had begun to suspect even before this that 
money could never be anything but an adventure 
in his life, the adventure of getting it, not holding 
onto it. The war was an adventure to him. So 
was the stage. And now, so is Hollywood. 

He takes his adventure so seriously that when 
he is working on a picture he allows nothing to 
divert him from his work. During those hectic 
months when we were on location and all hell was 
popping with one thing and another . . . changes 
in the cast . . . trouble with our brigade of riders 
. . . unsettled weather . . . rewritten scripts . . . 
scene after scene reshot until our nerves were 
frayed and many of the troupe were heartily sick 
of the whole undertaking, never once did his in- 
terest falter. So engrossed was Sir Guy that he did 
not even read his daily mail. Mail, in fact, is a 
particular aversion of his. "... Usually bills or 
bad news. Diverts your attention from interest- 
ing things. ..." 

He even took his own private location calamity 
(when he was bitten on the ankle by a Black 
Widow spider) with that casual mental shrug that 
is so much a part of his personality. He was far 
more upset when the publicity department released 
the story of his accident than he was with his 
bandaged foot and cane. "... can't stand to be 
wet nursed about, you know. Hate solicitude. ..." 

It is impossible to question Sir Guy. I found 
we got to know each other far better when the con- 
versation was not prompted and he "just talked." 
It is not wholly due to reticence, either. When in 
the mood he can entertain the listener for hours 
with anecdotes from his colorful store of experience. 
When not, wild horses couldn't drag anything out 
of him. 

As I look back I am amused at the various locales 
he chose for some of his confidences. He once told 
me a bit about his childhood when we had obtained 
"Dutch leave" from the company and gone shoot- 
ing in the Malibu Hills. He is one of the finest 



shots I have ever seen . . . and it goes without 
saying he is the kind of man who would take only 
a sporting shot. But I hardly suspected a gun in 
his hand would bring up memories of his childhood. 
He said he had always done a "bit" of shooting 
ever since he was a tike and that he had once had 
the idea he would like to be a game warden, an 
ambition which had greatly amused his father. 
The father, Herbert Standing was a distinguished 
actor in London, but from what I am able to gather 
from Sir Guy's abrupt confidences, he managed to 
retain close comradeship with his four sons, all of 
whom became actors in his footsteps . . . two of 
them, Sir Guy and Wyndham, achieving outstand- 
ing distinction in this country as well as England. 
"... but my real dream was the sea. It was 
my first ambition. Wanted to run away and join 
up, you know . . . that sort of thing. First time 
I tried I used the family table cloth for a sail. 
When I finally got back I was deathly sick. Very 
mortifying. ..." 

It is typical that the only other thing he has 
ever told me about his childhood was that he was 
always too big for his age which made him diffi- 
cult to handle. "... discipline and schooling 
didn't take my rambunctiousness out of me . . . 
Life did. ..." 

At the age of fifteen he decided to make his own 
way in the world. "Kicked up quite a row in the 
family . . . Father really angry ... he told me 
if I cut the family apron strings I could jolly well 
skip writing home for money when I got in a hole." 
But he did cut the strings and for eight years he 
divided his time between the sea and small parts 
on the London stage. He toured this country, 
England and Australia in more shows than space 
would permit to be recorded here. He knew the 
perilous ups and downs of both the careers he fol- 
lowed. "Beastly bad actor I was . . . left stranded 
many times in most inconvenient places . . . usu- 
ally had to work my way back to London on a 
boat." During one slack spell he peddled his water 
color canvases (which were later 
exhibited by invitation five times) 
from door to door in London. 

Years went by in his hectic life 
. . . and then the War! 

It is amazing how casually Sir 
Guy refers to this important part of 
his life. In the five years he served 
"V he became Commander in the 

British Navy. In June, 1919. he 
was created a Knight Commander 
in recognition of distinguished 
service to His Majesty, The King. 
It was not from Guy I learned that 
his particular service had been es- 
corting troop ships across the mine 
infested English channel. And he 
is almost {Please turn to page 52) 




Left, a photograph of 
Standing and Cooper to- 
gether. Above is one of 
Gary's hasty pen sketches of 
his friend. 



The Neiu Movie Magazine, March. 1935 



27 



Coloring the Hollywood Beauties 



HAVING remodeled womanhood, Hollywood 
will now proceed to paint her. All shades 
are available at last in technicolor. Pre- 
pare for purple lips and plaid hair. 

Long ago the old glass stages were displaced by 
cold sound storages but Hollywood is still a hot 
house. The horticultural innovations of Luther 
Burbank are truck garden stuff compared with the 
beautiful flowers developed by Goldwyn, DeMille, 
M-G-M, and Paramount. 

The reason glass studios are no longer needed is 
that Hollywood has improved on the sun. The lat- 
ter's working hours didn't always jibe with pro- 
ducers' schedules and he wouldn't turn from his 
course to back light Miss Garbo or front light Miss 
West. So now he's out, along with a lot of old 
time stars. No one is big enough to be tempera- 
mental in Hollywood, not even the sun. 

The great outdoors is also out. Mother Nature, 
who figured so big in silent movies, now only gets 
bits. She couldn't get rid of her bugs that made 
noises in the mike. Anyhow, art directors can 
make prettier scenery. If you saw "Flirtation 
Walk" you must have noted the Busby Berkeley 
influence on Hawaii. Once you have seen Warner 
Brothers' Hawaii you never could be content with 
the real thing. I wouldn't say as much for their 
West Point. Probably I'm of the hard-boiled old 
army school but I don't like to think of our West 
Pointers crying over one another all the time the 
way Pat O'Brien and Dick Powell did. True, Pat 
wasn't a West Pointer; he was a top sergeant, which 
only makes it worse. However, anything good old 
Sarge O'Brien does is jake with me, even sobbing 
at West Point. 

But to get back to this faulty planet which has 
caused producers so much trouble. What can you 
expect? It was produced in six days. That's what 
we call a "quickie" in Hollywood. Poverty Row 
stuff. Why, Sam Goldwyn spent more on Anna 
Sten than the whole earth cost originally. And to 
the naked eye Anna looked pretty all right to start 
with. I think he was fortunate in picking her in- 
stead of the Russian girl I saw in "Three Songs 
About Lenin" who was decorated for being the best 
hod carrier in the U. S. R. R. I'm afraid she would 



-■-- -——-..■■-• ■- --■....- ;.-;>.;■-- 




have taxed the national resources — even Sam's. 
If Jehovah could have had the benefit of Holly- 
wood supervision we might be living in a DeMille 
spectacle today. And wouldn't that be cozy? Cer- 
tainly this earth, looking the way it does, would 
never have been released by M-G-M. Mr. Mayer 
would have ordered retakes or else shelved it. 

Especially has female nature been improved. 
Compare Joan Crawford with the earliest pictures 
of Eve or, for that matter, with the earliest pictures 
of Joan and you will get what I mean. 

Lillian Gish, viewing her rushes, declared camera- 
men can make anyone appear beautiful. These 
wizards work their special magic by manipulating 
lights and by shooting their subjects through silk 
or gauze or burlap. Recently a historic beauty, 
weathered by many Winters and week-ends, ap- 
peared on the celluloid miraculously restored, all 
pleats and pouches wiped away. To rhapsodic ex- 
clamations a morose cameraman grunted: "Yuh, we 
shot her through concrete." 

Camera glorifiers constitute only one corps in the 
army of reconstruction. Margaret Sullavan has 
been telling the world how she was done over. 
While still flushed with flattery attending the sign- 
ing of her contract in New York she received a 
wire from the coast studio. Tingling with compli- 
mentary anticipation she opened it and read: "Get 
rid of that wart." Until then pauvre Peg had la- 
bored under the delusion she possessed a beauty 
mole. Humbly she submitted to a surgeon and 
went West with a scab. There she was whirled 
about by beauticians and camera testers. "Lop- 
sided face!" shouted one and set to work. "Short 
front tooth!" whooped another and affixed a shield. 
Eyebrows were yanked, make-up tried, legs okayed, 
figure studied for angles and lights. When she saw 
the results on the screen, Miss Sullavan said, "I 
wasn't looking at Margaret Sullavan. I was look- 
ing at a rather charming creation of expert and 
patient men and women." 

With similar detachment, though hardly the hu- 
mility I should say, Pola Negri on beholding her- 
self in rushes would burst into spontaneous ovation: 
"Vunderful! Gott, how beautiful, look at me!" 
One famous little beauty while stimulated by 

vino to Veritas uttered 
a classic line: "Papa 
and Mama gave me 
my face but God gave 
me my cameraman." 

In . glorifying the 
glorifiers I do not 
mean to detract from 
our little women's ge- 
nius or to infer they do 
not earn every thou- 
sand of their weekly 
wages. They make 
their sacrifices. I mean 
they starve and get 
anemia and submit to 
beatings which, from a 
husband's hands in- 
stead of a masseur's, 
would get them heav- 
enly alimony. I know 
because once I was 
pulped by a massag- 
ing Viking. My jackal 



Herb deplores our 
West Pointers crying 
over each other the 
way they did in "Flir- 
tation Walk." 



From his hideaway among the 
cliff-dwellers of Manhattan Herb 
Howe muses upon the camera 
glorifiers ; the improvements the 
Movie Moguls have made on 
Mother Nature ; and the one gal 
whom neither remodeling nor 
color photography will affect 




Will Rogers seems to be the one beauty that 
Fox has been successful with. 



cries brought sneering scorn. 
Swede slapper, "Miss 



"Why," said the 
had her stomach 
pounded black and blue to get into line for a pic- 
ture and she didn't swear half as much as you do." 

Subsequently I learned of greater martyrs. Not 
only are faces lifted but entire bodies, or large 
areas of them. One beauty bulging with the years 
was ripped open all along her boundaries, restuffed 
and resewn. Maybe the Viking told me this to 
frighten me. That was the effect, anyhow. Every 
time I see this hemstitched heroine I'm gripped 
with fear she may start unraveling before my eyes. 

All renovations are not successful. Lilian Harvey 
in "Congress Dances" was a lilting, fluffy little 
cantatrice. Fox snared her and plucked her down 
to her thin little frame around which they wound 
here and there those gosh-awful sequins. Her best 
song was "Gather Lip Rouge While You May"; 
her other ditties I've managed to forget. Ditto her 
pictures. Fox wasn't successful with Joan Bennett 
either. Now I'm alarmed over piquant Ketti Gal- 
lian, my heart of the moment. They certainly 
didn't launch her auspiciously with that spy-full 
"Marie Galante." Will Rogers seems to be about 
the only beauty Fox has been successful with, and 
he already had been glorified by Ziegfeld. Janet 
Gaynor is the sole star development, undeniably 
charming, though her pictures contain too much 
sugar for a man on a diet. 

M-G-M is the feminine paradise. All the girls 
hope to go there when they die if they can't make 
it before. They feel that once arrayed in raiment 
by Lord Adrian they will be heavenly bodies or look 
as though they were. From the box-office view, 



28 



The New Movie Magazine, March, 1935 




Compare Eve, our first lady, with the gals of 
the present. 



Adrian is probably the most valuable studio asset. 
I have the feeling his sense of humor occasionally 
gets the upper hand. Sometimes the birds of his 
plumage turn out looking like turkeys. 

Warner Brothers, by contrast, is masculine. 
About the only beautifying treatment a girl gets 
there is a grapefruit facial by cosmetician Cagney. 
Yet they house the most beautiful women in Holly- 
wood: Mary Astor and Dolores Del Rio. I don't 
know Miss Astor but I can say Miss Del Dio is a 
natural, more beautiful in person than in celluloid 
because more delicate and her coloring can't be 
equalled by technicolor. She wears a little make- 
up but it's slight, sophisticated and accentuating. 
Ruby Keeler and Kay Francis are naturals too. 
Certainly Kay, in the flesh, doesn't need any gum- 
ming up or camera glamouring. And Marion Davies 



Illustration by 0. 8. Ho/comb 

has it all over her screen reflection for naturalness. 
Personally I rather favor Warners where men are 
muggs and women look the way they photograph, 
or better. 

Of Hollywood it may be said, as Aileen Pringle 
says of California: Everything for the body, noth- 
ing for -the mind. With such concentration on 
externals there isn't much thought left for acting. 
Emotion isn't pretty — another of the Creator's mis- 
takes. So Hollywood confines it pretty much to 
batting of eyelashes, a few drops of glycerine and 
slight twisting of lips with a view of good teeth. 

When old Mrs. Pat Campbell was pestered for 
her opinion of a star's acting ability she finally 
roared: "I think she's marvelous. I never knew an 
actress who could think of so many different ways 
of doing her hair." 

As Hollywood's formula for beauty becomes more 
patent it becomes increasingly difficult to dis- 
tinguish individual beauties. In the production of 
"Dames" a host of dancing girls wore masks of 
Ruby Keeler's face. As an assistant director re- 
marked, this did not seem to change them in the 
least. They all looked alike before, no expression. 

Some people lacking artistic discernment exclaim 
the same of the actresses. I admit I am sometimes 
confused, connoisseur though I be. There is one, 
however, whom producers have failed to remodel 
and upon whom technicolor will play no tricks. 
She suggests comfort rather than beauty and I 
have an idea this weary world is in a mood for her. 
I know I am. I refer to Louise Beavers, colored, 
whose hearty genuineness in "Imitation of Life" 
should put her white sisters to shame. Acting is 
easier for her than for white folks. She can concen- 
trate on feeling. She hasn't the distraction of won- 
dering if her nose is shiny. She knows it is. 

Even our little men must pat the proboscis with 
a powder puff. Only Stepin Fetchit is excused. 
Mother Hollywood insists that washing the neck 
and ears is not enough; her boys must be Faunt- 
leroys. 

Time was when you might have cried sissy at a 
man who went for mug embellishment. You 
wouldn't now. Not with wallopers like Jack 
Dempsey, Johnny Weissmuller, Georgie Raft and 
Killer Gray submitting to plastic surgeons for re- 
modeling. There's no sense letting a cauliflower 
ear or an Oriental nose stand between a man and 
his money. 

Undraped males playing Tarzans, Ben Hurs, 
Roman gladiators, or footballers under showers, 
must be depilated from cheek to shin. Women do 
not like a King Kong complexion, producers say. 
Wally Reid found that out years ago. The hand- 
somest of all screen Apollos, he contemptuously 
compared himself to a Follies Girl. Determined to 
be an actor, he characterized a backwoodsman role 
by wearing a scrubble of beard. Exhibitors 
screamed of diminished receipts. Feminine fans 
didn't find him kissable. 

Ramon Novarro sympathized with Wally's dis- 
gust when compelled to shave his legs for Ben Hur. 
Previously he had been remodeled by Rex Ingram, 
a sculptor first and a director second. Rex made 
Ramon shave his eyebrows apart where they met 
above the nose, insisted on squaring his sloping 
shoulders by placing little pads under his coat, and 
ordered risers built in his shoes so as to give him 
height. 

Alice Terry, Rex Ingram's wife, sympathized 
with Ramon. Alice is probably the most beautiful 
woman the screen ever reflected, and she is more 
beautiful in person. That didn't stop Rex from 
improving her. He decided she should be a blonde. 
So she wore a wig. Her figure, perfect to the eye, 
was too ample for the camera. She submitted to a 
masseur who pounded her and hung sand bags 
across her until one day an earthquake hit Los 
Angeles and Alice scattered amid sand down six 
flights of stairs. In high indignation Venus Terry 
faced adoring Rex and screamed. "Ever since you 
chose me for this role you have been making me 




Or, for tha-* matter, compare the present 
Joan Crawford with the earlier one. 



over. Did you pick me for the type because I was 
so different?" 

Recently Hollywood's beautiful women were 
asked to vote on Hollywood's most beautiful men. 
Ronald Colman won overwhelmingly. It's a good 
sign of women accepting men as they are. Ronald 
is forty-five and resorts to no beautification apart 
from the make-up still insisted upon for the camera. 
And among the ten handsomest males I note my old 
favorite James Cagney. I never realized Jimmy 
was beautiful. Even Mae West, who told me she 
considered him the most desirable of Hollywood 
males, chose him not for beauty but for the old 
animal in him. I suppose that eventually a freckle- 
remover will make Jimmy perfect. 

But why can't we take nature? The girls and 
boys are a lot nicer as they are. 



The Neiu Movie Magazine, March, 1935 



29 



nemo's HOLLYWOOD 



Nemo, the mysterious reporter nobody knows, brings you the latest news from the cinema capital, 




HOLLYWOOD gets them all, sooner or later. At least it would 
seem so! 
The other day, we snuck up behind 
Gary Cooper, and, what do you think? Why, 
that big Montana he-man was cutting out some 
funny paper ducks! Like Uncle Elmer did, 
just before they took him away! 

We were about to look around for the wagon, 
when Gary informed us that the ducks were 
for a little fan friend who had requested them 
so ardently that he just couldn't refuse! 



TT/HEN Tullio Carminati discovered that England had gone wild over 
yy his swell performance in "One Night of Love," he decided that 
such popularity should not go unrewarded. So, as a Christmas gift, he 
bought himself a combination watch and cigarette lighter which he wears 
at the end of a gold chain. 

Now, on the "Once a Gentleman" set, that sly Victor Schertzinger asks 
for either the time, or a light, practically every five minutes. And Car- 
minati, who knows very little as yet of our old American custom of 
"kidding," hasn't caught on yet! 

• 

WHEN it comes to giving autographs, Fay Wray is one of the best 
sports in the business. Graciously, she puts her name on every- 
thing from menus to opera hats. But one day she got the surprise of 
her life when a pair of newlyweds, visiting the studio on their honey- 
moon, asked her to autograph their wedding license! 
Fay did it, too! 

• 

7'ACK HOLT and Edmund Lowe are having more fun, walking 
around the bottom of the Pacific and playing catch ivith starfish 
and such. 

While the crew and cameras floated on the surface above them, it 
suddenly began to rain. And when it does rain out here in Cali- 
fornia it pours, no less. 



So, with the crew, director and everybody else drenched to the skin, 
Eddie and Jack squatted comfortably on the ocean floor, high and 
dry, you might say, in their nice warm diving suits! 



WHEN a studio hires a "practical" nurse for a picture, that means a 
nurse who has had experience enough to be able to tell the director 
just how certain sequences should be handled and why. 

A "practical" waiter is one who has had consistent experience in serving 
the hungry public as a real, honest-to-gosh waiter. 

So, on the "Carnival" set, Jimmy Durante approached Director Lang 
and said: 

"Listen, Walter . . . you gotta 'practical' dis-a an' a 'practical' dat-a 
in this troupe. Well, I wanna a 'practical' somethin', too." 

"What do you mean, Jimmy?" the director asked. 

"Well," said Schnozz', "I'm playin' a pickpocket in this story an' we 
gotta do this thing right. Get me a 'practical' pickpocket! What I needs 
is technical advice . . .see?" 



r 1 tHAT big he-man, Bill Setter, is just putty in the hands of his wife, 
J. Marian Nixon. 

Taking complete charge of Bill's big yacht, Marian proceeded to give 
it the much-touted "feminine touch." 

And whether Bill likes it or not, there's i \ 

chintz and cretonne drapes all over the place, 
and even the crew has to wear those funny 

little sailor hats with blue ribbons floating C^" FA^rf^? 

out behind! \^%W 




GLENDA FARRELL'S pals were 
startled when she invited them to at- 
tend a party in honor of burning down 
her old home! 

Half way through the evening, Glenda took the assembled guests 
out in the backyard, poured some kerosene over an old trunk and 
touched a match to it! 

Watching the flames mount, Glenda sighed: "I've lived in that 



ffii" 



\Stf li 



Below: In skeet shooting, targets 
are released from two towers and 
cross in mid-air. The object then, 
Clark Gable and John Barrymore 
learn, is to hit them. Right: Mrs. 
Richard Arlen (Jobyna Ralston) 
plays with her young son, Richard, 
beside the pool at Palm Springs. 




Clarence b 





What do actors do between takes, on lo- 
cation? Well, Bob Montgomery ties on a 
tianky to save his make-up and Joan 
Crawford pets stray dogs. 



30 



The New Movie Magazine, March, 1935 



DAY by DAY 

in a kaleidoscope of humor, gossip and romance 



trunk for the last ten years. It's followed ine across the United States 
and back, through one-night stands and all the rest of it. Well . . . now 
that I have my own home, it might as well go to its well-earned reward. 
But I guess it isn't everyone who could stand calmly by and watch his 
old home go up in smoke!" 



CAROLE LOMBARD has been doing such a 
thorough job of learning the rhumba that 
a chiropodist had to be called in to put ice bags 
and stuff on her throbbing, steaming tootsies, 
at the end of a long weary day! 



bj aH , Constance Bennett and 

Kerf "*"£.%&£ 
broadcasting., Be, ° . w i|| 

b, T\.r P - n .bu t wHh' Carole 
Kib-tr and George Raft. 




I 



S Douglass Montgomery the lazy one! 
Don't let on I told you, but, out at his place the 
other night, Doug threw a flock of ingredients into 
a snappy cocktail shaker, hooked it onto a gadget, 
and . . . Br-rr-rrr-rrr-r! . . . the shaker went 
into its dance, untouched by human hands! 



TTERE 'tis, ladies! Omar Kiam, who designs gowns for Goldwyn's Anna 
1 1 Sten, says that skirts are decidedly not going up. The preferred 
length, says Mister Kiam, just touches the calf. Furthermore, really smart 
women never wear long skirts for anything but evening wear. And if you 
happen to be one of those who let them dangle between ankle and calf . . . 
tch, tch . . . don't ever do that! It's most uncomely, says Mr. Kiam. 



PLAYING a motorcycle cop, in "White Lies," Victor Jory took ad- 
vantage of the fact and sneaked up on Sheila Manners as she drove 
into Hollywood from San Fernando Valley. 

"Pull over to the curb . . . !" he yelled. And, Sheila, scared to death, 
pulled over. 

"Going sixty, eh?" he said scathingly. "Fine citizen you are . . . 
breaking laws . . . endangering the lives of innocent young 
children ... !" (Please turn to page 68) 




Chester Morris, Carole Lombard and Leo Carrillo, resting, between 

scenes, play cards. Below: Grace Moore with hubby Valentin 

Parera, Eddie Robinson, and Director Victor Schertzinger, snapped 

by the photographer on the Columbia lot. 

D. L. Shafer 




A newcomer and a veteran meet in "One 

More Spring." Astrid Allwyn, blond and 

feminine and utterly English, has something 

of Janet's own charm. 



The New Movie Magazine, March, 1935 



31 




(Above) In Charlie's 
ingenious charac- 
terizations many a 
dignified citizen of 
South Bend, Indiana, 
sees himself as 
Charlie saw him. 



I NITWIT Incomparable 

Charles Butterworth's favorite game is Cow — served as a nice, juicy 
steak. He never stands if he can sit, and as for walking, "Why 
walk/ 7 he asks, "when you can rent a velocipede so cheaply?" 

By LEON SURMELIAN 

THERE is hardly a more subtle specialist of laughter in Hollywood, a more 
titillating humorist, than the incomparable nitwit of the screen, Charles 
Butterworth, Esq. 

He is the superb sap who invariably steals the show with his individual brand 
of delicious foolery, no matter what top notchers in sex appeal emblazon his cast. 

He is one of our few comedians who doesn't have to say a word to tickle you in 
the ribs. He belongs to the dead-pan school of clowns. His rigid, solemn counten- 
ance has been his fortune. But when blinking vacuously in that inimitable manner 
of his, he does sputter a delayed line, he shakes the rafters with gales of laughter. 

There is no one like him, no one who can be so excruciatingly funny. He is in 
a class by himself, is our Charlie. Yet, so far, the fan magazine writers have com- 
pletely overlooked this capital comedian. 

"I am afraid you will find me very poor copy for an interview," he said, as I 
met him on the M-G-M lot in behalf of New Movie. 

"Don't be so modest," I said. 

"Well, don't expect me to be funny. I can't think up gags on the spur of the 
moment, you know. I am not a man of spontaneous humor; I have to study it out 
beforehand." 

The film edition of this rare cut-up looks like a dyspeptic George Arliss — a pale, 
anemic man of grave dignity who surfers from myopia and the frailties, mental and 
physical, of advanced age. But in reality Charles Butterworth is a deeply tanned, 
healthy cuss, one whom everybody in the studio hails as "Charlie." 

He has, in his gayer moments, the dash of a young man about town, and a mock 
Napoleonic air about him. He doesn't look a day over thirty-five, and will remind 
you of Leslie Howard. He has the habit of entering conference rooms with his hat 
tipped over his head, as befits a former newspaperman. He sits in the most comfort- 
able armchair available, and stretches out his legs, exposing his sunburned ankles. 
He speaks in the bored, drawling voice of the worldly wise, of men who don't care. 

Although basking in the sunshine of Southern California, amid the palmy splen- 
dor of Beverly Hills, and leading, to all appearances, a life of continuous holiday, 
Charlie has had his struggles. 

"At one time," he said, without cracking a smile, "I was in charge of the 
shipping department of a machine company. Everybody envied me for my position. 
The owner himself became so jealous of me that he took over the position himself." 

"You mean you were fired." 

"Yes. I was the worst shipping clerk in the world. Clark Gable tells me he was 
a very bad one, too." 

CHARLIE was born at South Bend, the town made famous by the ball packers 
of Notre Dame. His father was a surgeon of note. Both his parents are dead. 
Intent on becoming a great statesman, with a possible occupancy of the White House, 
he studied law at Notre Dame and meanwhile delved into the treasures of history 
and literature. Graduating with honors, he passed the state bar examinations and be- 
came a member of the Indiana Bar Association. 

We can imagine with what visions of success he hung out his shingle as a practis- 
ing attorney. 

"It was, I suppose, at this momentous period in my life," he said, "while I waited 
for clients who didn't come, that I developed my sense of humor." 

Time hung heavy on his hands, so Charlie tossed his lawyer's shingle into the 
ashcan, sought and obtained a cub reporter's job on the South Bend Times-News. 

Chicago offered a wider field of opportunity to our lawyer-journalist than his 
peaceful home town. He worked for a while on the Chicago American, and then 
moved on to New York, to lend his talents to the big metropolitan dailies. The 
reception he received at the hands of their city editors was chilling at first, so he 
explored upstate until he landed a reportorial position on the Mount Vernon Argus. 
He later returned to New York and found a berth first on the staff of the New York 
Journal and then of the New York Times as a general assignment reporter. It was 
a hard grind, earning his living as a news hawk, but he had a swell time. 

His forte was the writing of obituaries. None of his fellow-scribes could expect 
to compete with him when it came to covering important deaths and funerals, for 

none could duplicate his countenance of a doleful dea- 
con. Assuredly, he could have made a fortune as an 
In the art study at the undertaker. 

left, Mr. Butterworth seems It was quite inevitable that a chap of his mimetic 

to be ^ impersonating the talents should eventually go on the stage. Here his 
Pied Piper of Hamelin. reportorial training helped. His eyes missed nothing, 
Gracious, did he come and he remembered what he observed — so necessary in 
from South Bend, too? good acting. {Please turn to page 50) 



32 



The Neiv Movie Magazine, March, 1935 








VANESSA 

M-G-M 

Bob Montgomery, 
an English noble- 
man with wild 
gypsy blood in his 
veins, loses the 
love of Helen 
Hayes only to re- 
gain it mystically 
as a result of her 
tragic death. 
Haunting ro- 
mance. 



RUGGLES OF RED GAP 
(Paramount) 

Mary Boland, 
Charles Ruggles, 
Charles Laughton, 
ZaSu Pitts and 
Baby LeRoy. Rug- 
gles, an English 
butler, goes West 
and goes tough. 
If this doesn't have 
you in the aisles 
we miss our guess. 



CLIVE OF INDIA 
("Twentieth Century) 

Ronald Colman is 
a young clerk 
when Loretta 
Young marries 
him, sight unseen. 
Her slavish love 
lifts him to the 
heights, and he 
becomes the Gen- 
eral who conquers 
India for Britain. 
Historical. 



MURDERED A MAN 
('Universal) 

For mystery fans. 
You see the mur- 
derer commit the 
crime and then 
follow him as he 
tries to put the 
blame off on 
somebody else. 
Fast-moving, well 
directed, this is 
above average. 



THE MYSTERY OF 

EDWIN DROOD 

(Universal) 

Dickens' unfinished 
classic. A Jekyll- 
and-Hyde choir- 
master turns fiend 
after hours. 
Claude Rains, 
Heather Angel 
and David Man- 
ners dispense hor- 
ror to chill your 
blood, and ro- 
mance too. 



ON-THE-SET 

REVIEWS 

Barbara Barry, New Movie's studio scout, 

tells you what to expect in the new pictures 

which are now in production 



WE don't know who started this merry-go-round of hoopskirts. bustles, 
and frizzed bangs, but we'd like to know who's going to stop it? 
At the risk of incurring your deepest displeasure, ye old broken 
down reporter has got to state that we'll turn in Aunt Emma's bustles, any 
day, for a Patou model and a Menjou soup-and-fish. Are you with me, or 
have I started a riot? 

i'LFVE OF IXDIA yx spite of our period-phobia, the number of costume 
• x pictures seems to be swelling like the Pacific tide 

20th century when the moon is just right. And, we're destined to 
take 'em and like 'em, or go back to popping corn and 
making fudge for an exciting evening. 

Without even a thought for our pictorial preference. W. P. Lipscomb and 
R. J. Minney got together on another period story. But. as we watched 
Loretta Young flitting about in sea-green chiffon over seventeen petticoats . . . 
well, maybe this one won't be too hard to take. 

Shipped as apprentice to the merchants of the East India Company, Ronald 
. Colman refuses to be a humble serf like the other poor young men who struggle 
along on a few dollars a year in the vain hope of some bright day having a 
successful career. 

Defiantly, he fights to fulfill the destiny in which he believes. In a locket 
around the neck of Francis Lister, one of his comrades, Colman sees the pic- 
ture of a beautiful girl, Loretta Young. Learning that it is Lister's sister, the 
impetuous Ronald writes her a letter proposing marriage, and strangely 
enough, Loretta accepts, sight unseen. 

Colman achieves fame as a great leader and later, back in London, a son is 
born to the happily married pair. 

So great is her devotion to the man she loves, that Loretta leaves her dving 
child to follow Colman back to India, when he is called to subdue a native 
uprising. 

Through the entire picture, she sacrifices evervthing to serve her master, 
and at the close of the picture, when things look blackest, the soothing touch 
of her hand serves to revive her husband's waning faith in himself; giving him 
the courage to carry on once more to victory. 



STRAIGHT 

FROM 
THE HEART 

• 
I'XIYERSAL 



SCOTTY BEAL. the director, is a lad who certainly 
has a winning way with him where little children are 
concerned. 

Baby Jane adores the man and he has one little trick 
whereby he can influence the child to go through the most 
difficult scene without ever making even the slightest 
squawk of protest. 

Sitting on the floor, with the baby's arms around his neck. Scotty said: 
"Now, darling, after Miss Astor puts you down, your dress is all wrinkled in 
the front. While you say your line. I want you to smooth the wrinkles out 
of the dress. Will you do that for Scotty?'' 

"Uh-huh . . ." she agreed. "N'en we play Eskimo?" {Please turn to page 64) 





BARBARA 


BARRY'S SELECTIONS 








YOU'LL LIKE THESE 






"Vanessa' 


with Helen He 


iyes and Robert Montgomery. 






"Roberta' 


' — Fred Astaire 


and Ginger Rogers. 






"Mississip 


pi"_W. C. Fiel 


ds, Bing Crosby and Joan Benr 


ett. 


"Ruggles 


of Red Gap"- 


-Charles Laughton, Charles 


Ri 


ggles and 


Mary 


Boland. 








"Caprice 


Espagnole" — M 


arlene Dietrich. 






"Mystery 


of Edwin Drood 


1 — Claude Rains. 






"Clive of 


India" — Ronald 


Colman and Loretta Young. 






"Rhumba' 


' — George Raft 


and Carole Lombard. 






"Town Ta 


k" — Constance 


Bennett and Clark Gable. 







The Nexo Movie Magazine, March, 1935 



33 




Give Them a Good 
BREAKFAST 

says NANCY CARROLL 

Hunger is the best seasoning at Sunday morning parties in Holly- 
wood where guests arrive after a brisk ride or set of tennis 



Choice of 

Grapefruit juice Tomato juice 

Tomato juice mixed with sauerkraut juice 

Pineapple juice with a dash of lemon juice 

Sausages and scrambled eggs 

Scrambled eggs with tomatoes 

Calves brains and scrambled eggs 

Creamed kidneys Kippered herrings 



French rolls and crusty bread 

Butter Apricot jam 

Coffee 

THAT is Nancy Carroll's menu for breakfast. 
But first you must ask your guests to come 
on Sunday morning, after they have spent an 
hour or so riding or playing tennis. 

"That," says Miss Carroll, "is the best time to 
give a party, because your guests come in feeling 
top of the morning and literally starving. Good 
honest hunger is, after all, the best seasoning. 

"The fruit juice or tomato 

juice must be served as soon as 

the guests are assembled — as 
one might serve a cocktail be- 
fore dinner. Then serve some- 
thing really substantial. 
Creamed kidneys or calves 
brains are sure to please some 
of your guests, but if you are 
only serving one dish scram- 
bled eggs is a better choice. But 
be sure to have country style 
scrambled eggs, al] swished to- 
gether and fluffy. To begin with 
you should break the eggs in a 
bowl and mix up until yolks 
and whites are well broken. 
Then add just a little rich 
cream. A little chopped seal- 
lion or mild onion adds to the 
flavor. Melt a little butter in 
a frying pan and when hot, but 
not too hot, turn the eggs into 
the pan and cook very carefully so that the eggs 
are evenly done, light and fluffy. Turn out on a 
warmed platter and serve at once, with sausages if 
you like or with calves brains, or grilled tomatoes." 

As everyone knows, Hollywood goes in for 
breakfast parties in a large way, preferably Sun- 
day breakfast parties, and according to Nancy 
Carroll there is much to be said in favor of this 
sort of entertaining anywhere. Men are especially 




Country style scrambled eggs made with cream and minced scallions. 



French rolls and bread served 
with butter and apricot jam. 



keen about this sort of party, 
and at Miss Carroll's Sunday 
breakfasts in Hollywood they 
usually appear in riding 
clothes after an early morn- 
ing's canter. "If your guests 
aren't in the habit of riding," 
Miss Carroll advises, "it's a 
good plan to have them take 
some sort of outdoor exercise 
before they arrive. A mile or 
so walk from their homes to 
vours will do. Then you will 
be sure that they are really 
enjoying the good food you have prepared." 

A breakfast party, in Miss Carroll's opinion, is 
a very good form of hospitality for the young 
woman who keeps house without a maid. Because 
in the house with many servants, formal service is 
dispensed with at this meal. The important things 
to remember are to have cold dishes, such as fruit 
and fruit juices, well chilled, and to have hot dishes 
piping hot. 



Platters of eggs, sausages, etc., may be placed on 
the table and passed about by the guests. There 
should be one cream and sugar service to every four 
or five guests and a plentiful supply of well chilled 
butter. Coffee may be made in a percolator on the 
table or brought in piping hot in attractive coffee 
pots. 

For the benefit of guests who take their break- 
fast in the traditional French manner, you may 
serve jugs of boiling hot milk to use instead of 
cream; and for those with a preference for a 
thoroughly English style breakfast you should be 
prepared with an attractive tea service. And don't 
forget piping hot oatmeal or other cereal. 

Table fittings should be bright and gay. Miss 
Carroll prefers French peasant china in bright blue, 
red and yellow design. And for table doilies and 
napkins, coarse linen with a red or blue border or 
check. For flowers she would choose, what we would 
call the "old fashioned" sort, — tulips and daffodils 
in the Spring, daisies, bachelor buttons and other 
field flowers in the Summer, with zinnias or chry- 
santhemums in the Autumn. 



TOWER 



iiulr:m 


2iKAA^M£fl^^u^H^H^^^K^^^M^^B 


E DEPARTMENT • 



34 



The New Movie Magazine, March, 1935 



Prevent Diphtheria! 




***** 




"The inoculation was perfectly simple. Hedidntmind 
it a bit. This young man will never have diphtheria!'''' 



Cf^THE number of deaths from diphtheria dropped, 
vL/ on an average, about 1,000 each year — approxi- 
mately from 14,000 to 4,000 — throughout the United 
States from 1923 until 1934. In those cities and towns 
where inoculation of pre-school children is the rule 
and not the exception, the danger from diphtheria 
is steadily decreasing. In fact there are many large 
communities where no deaths from diphtheria have 
occurred over a number of years. 

Antitoxin, discovered years ago, was a partial 
victory over diphtheria. It usually relieved the 
severity of an attack of the disease and helped to 
save many lives. With the extensive development of 
toxin-antitoxin or toxoid inoculations, a preventive 
method for blotting out this disease has been found. 
All children should be protected against diphtheria 
when they have reached the age of six months. 
Inoculation gives the great majority complete and 
lasting immunity against the disease. Whether a 
child lives in the city or in the country, a nearby 
doctor can give him the inoculation. 



v m 









Not all of the diphtheria tragedies are due to lack of 
information or to negligence on the part of parents. 
In some cases mothers are under the impression that 
their children are in no danger of contracting this 
disease because of the devoted care given them. They 
are reluctant to have their healthy children immun- 
ized. Parents should realize that the utmost care 
may not protect their boys and girls from this pre- 
ventable disease. Successful inoculation in infancy 
will protect them. 

Nearly two-thirds of the fatal results from diph' 
theria occur between the ages of six months and 
six years. Those who recover from an attack may 
even then be left with permanently damaged hearts. 
Inoculation is a simple matter, soon over with, and 
leaves no scar. If you have children of your own who 
have not been inoculated, protect them at once. 

Metropolitan will mail, free, its booklet "Diphtheria 
and Your Child." Address Booklet Dept. 335-B. 



Metropolitan Life Insurance Company 



Frederick H. Ecker, President 



One Madison Ave., New York, N. Y. 



The New Movie Magazine, March, 1935 



35 




BRIGHTEN UP 
YOUR WARDROBE 



By FRANCES COWLES 



Here are accessories of the 

newest design to give a promise 

of coming Spring to your late 

winter wardrobe 




Ma374 




Ma376 



Ma372 — Here is a hat 

of the latest shape that 

is made from heavy 

crochet cotton. 



Ma373 — The scarf is 
made from three balls 
of dark crochet cotton 
and one ball of white. 

• 
Ma374— To add a fresh 
touch to a dark dress, 
make one of these col- 
lars from white crochet 
cotton. 

• 

Ma375 — A jaunty beret 

made from lightweight 

woolen material or 

heavy silk. 

• 
Ma376 — Flower- 
trimmed collars are a 
new note for spring. 
Here's a simple collar 
trimmed with flowers. 

• 
Ma377— Make this cro- 
cheted purse to match 
your late winter dress 
or new spring outfit. 

• 
Ma378 — A collar in- 
geniously made entirely 
of ribbon gives a smart 
dressmaker touch to one 
of your dark dresses. 

• 
Ma379— Taffeta silk in 
two colors was used to 
make this flattering puff 
collar, to wear with suit 
or coat. 

• 
Ma380 — Here's a smart 
little blouse you can 
make from silk or cot- 
ton to go with separate 
skirt or suit. 



Ma378 



M 




Ma379 







Ma380 




If you would like patterns and directions for 
making these gifts, please turn to page 67- 




The quaint thatched roof lends charm to the exterior. 

A Studio Cottage 

Janet Gaynor's little cottage is the most 
picturesque in Fox Movietone City 



TLT OW would you like to live here? 
* ■*• This lovely little Irish cottage 
with its quaint thatched roof was 
originally built for John McCormick, 
the Irish tenor, when he portrayed the 
stellar role in "Song 0' My Heart" and 
is now occupied by Janet Gaynor, win- 
some Fox film player. 

The plan of the cottage is most un- 
usual. Although it was built originally 
for a dressing-room, 
it adapts itself readily 
to a lovely little 
home. The combina- 
tion reception room 
and library, with its 
book-lined walls pro- 
vides rest and quiet 
for Miss Gaynor 
when she is not work- 
ing on the set. The 
library opens into a 
large and sunny living- 
room with its cosy 
little inglenook with- 
out which no Irish 
cottage is complete. 
The beamed ceiling 
in this room is white- 
washed, in effect, and 
the same idea is 
carried out on the walls. The flagstones 
about the hearth give the proper at- 
mosphere and on either side of the fire- 
place are comfortable seats, uphol- 
stered in rose printed linen. The candle 
sconces are of the Elizabethan period 
and the old Chinese plate hanging on 




Nc 



the wall is reminiscent of the first art 
treasures brought to Great Britain 
from the Orient. The rug is a braided 
rag antique. The furniture is maple and 
is simple and sturdy in design. The 
color scheme in this room is carried 
out in tones of tan, rose and green. Con- 
venient to this room is a small kitch- 
enette. The dressing-room is spacious 
and is done in a color scheme of Cas- 
pienne blue and white ; 
it is equipped with 
three ample-sized 
closets where Miss 
Gaynor keeps her cos- 
tumes and other 
clothes she needs 
when on the set. Off 
the dressing-room is a 
bath and shower. 

Letters from read- 
ers of New Movie 
show a keen inter- 
est in homes of mo- 
tion - picture actors 
and actresses. The 
plans of these houses 
in and about Holly- 
wood not only pro- 
vide an interesting 
picture of the home 
life of these celebrities, but offer helpful 
suggestions to home builders everywhere. 
If you are interested in the houses of 
your favorite players, and would like to 
see pictures and plans, send their names 
to Tower House Editor, New Movie 
Magazine, 55 Fifth Avenue, New York. 



Irish cottage is complete 
without its cosy inglenook. 




36 



The New Movie Magazine, March, 1935 



Dreaded Age Signs first Appear (InderloiirSkn 

Wrinkles 6egin BelowSurface 
&C^2z^«r20 — Dermatologists say 



Lines,WrInkles, signs 
of wasting under- 
skin — loss of tone — 
impaired nutrition 
— lack of invigorat- 
ing oils. 



Coarseness is made 
worse by clogged 
pores, neglect, im- 
proper cleansing. 




IF YOU COULD LOOK UNDER YOUR SKIN! 



Blackheads come 
from pores clogged 
by thick secretions 
from overactive skin 
glands. 



Dryness is often due 
to poorly function- 
ing under skin, in- 
adequate oil supply. 



Blemishes. Many fac- 
tors lead to blem- 
ishes — among them 
inactive circulation, 
improper cleansing. 

Sagging Tissues, due 

to loss of nerve tone, 
impaired circula- 
tion, fatty degenera- 
tion of the muscles. 




Underneath your 
outer skin or epi- 
dermis is the true 
skin or coriu m. 
Here are myriads of 
tiny blood vessels, 
cells, nerves, elas- 
tic fibres, fat and 
muscie tissues, oil 
and sweat glands, 
hair follicles! On 
these depends the 
beauty of your outer skin. When they grow sluggish, the 
under skin loses vigor. Then, look out for blackheads, 
coarseness, blemishes, lines — eventually wrinkles I 



Coarseness Blackheads 
Blemishes 

^411 develop w/ten 

imders&in Jails 

to function 



Ym can Fight them all 
with this Single Cream 






DO YOU KNOW what is the time of a woman's 
greatest beauty? . . . The glorious teens! 

Here's what a great skin authority says: "From 
16 to 20, a woman's skin literally blooms. It is 
satiny, clear, glowing. Not a line, not a pore. 
From 20 on, the fight to keep a youthful appear- 
ance begins." A fight it is! 

If you want to know the secret beginnings of 
blackheads, blemishes, coarse pores, lines, wrinkles, 
you would have to see into your under skin. 

There's where the firm young tissue first begins 
to age. Where circulation slows. Where tiny oil 
glands begin to lose tone. When these things hap- 
pen, your under skin actually starves! As a result, 
the outer skin grows harsh — sallow — lined. 

To avoid these faults, you must give immediate 
help to your under skin. 

This is what Pond's Cold Cream does. In this 
famous cream are specially processed oils that 
sink deep into the skin. This rich, penetrating 
cream sustains the failing nutrition underneath — 
aids the natural functioning of the oil glands. 

Use this youth-sustaining cream. See how quickly 
its use brings back a satiny texture. Even wipes 

The New Movie Magazine, March, 1935 



out lines. Clears away blackheads, blem- 
ishes. 

Pond's Cold Cream is a wonderful 
cleanser. Use it at night before retiring. It 
sinks deep and flushes away all skin impuri- 
ties, grime, rubbed-in rouge, powder. Your 
skin feels wonderfully freshened, renewed. 
A second application patted in vigorously stimu- 
lates the circulation. You actually look years 





MRS. ROBERT NELSON PAGE (above), a distinguished Southern 
beauty. "Her skin is soft — a perfect texture. No lines or blemishes" 
— Dermatologist's Report. Mrs. Page says, "Pond's Cold Cream 
keeps my pores fine — my skin smooth—banishes blackheads." 

MRS. ADOLPH B. SPRECKELS, JR. (left) of the prominent 
California family, "lias a perfect skin — no blackheads — no en- 
larged pores" — Dermatologist's Report. Mrs. Spreckels says, 
"Pond's Cold Cream cleanses my skin as no other cream ever did." 



p^u^ Send for generous supply. 



See what this famous cream will do for You, 



younger! In the morning and in the daytime before 
you make up, repeat this. Your powder goes on so 
smoothly — stays that way for hours. 

Send the coupon today for the generous tube and 
other Pond's beauty aids. Then see if you do not win 
back that youthful charm every woman should have! 



POND'S, Dept. C48„ C!i 
packing) for special tube 
other Pond's Creams and 

Name 


nton, 
of P 
4 sh 


Conn. I enclose 10^ (to cover 
and's Cold Cream with generous 
ades of Pond's Face Powder. 


postage 
samples 


and 
of 1 


Street 


City 










State 









Copyright. 1935, Pond's Extract Company 

37 




Showing Miss Trevor's celebrated black jet ring. 

Watch Your Hands 

says CLAIRE TREVOR 

Use deep nail tint when you want your 
hands to look their loveliest 



MEN may say they don't like 
deep-red nails, but they actually 
do like the effect," says charm- 
ing Claire Trevor, Fox player. "Of 
course, a man with artistic taste usually 
admits he likes them." 

Just to show how important hands 
are in motion pictures, Miss Trevor re- 
called the time she was working with 
Irving Cummings, director, in "The Mad 
Game." In one part of the picture she 
had to roll a cigarette and, when she 
came to light it, strike the match on 
a large, carved, black jet ring. Just to 
go through with that one bit of action, 
Miss Trevor admits 
; she had to practise 
eight or nine weeks. 
Hands play every bit 
as important a^ part 
in screen acting as the 
face, and, to look 
one's best, hand cos- 
metics are as impor- 
tant as rouge, lipstick 
and other things that 
women use to en- 
hance the beauty of 
their features. 

"Deep red nail 
enamel makes the 
hands look whiter 
and lovelier," says 
Miss Trevor. "For 
the evening, deeper 
shades are always best, but it is a nice 
idea to change the color to suit the oc- 
casion, using lighter shades for business 
and sports. But I, personally, don't have 
time. I like outdoor sports, and if any- 
one asks me to play tennis and I have 
time to spare, I would hardly stop to 
go and have my fingernails re-enameled 
to suit the occasion. 

"To keep the hands looking beautiful, 
the nails should be manicured fre- 
quently. Nothing is worse than deep 
enamel that has begun to chip and peel. 
Many girls in Hollywood have trouble 
keeping the skin of their hands soft 
and smooth during the excessively dry 
weather, but I've never had any trouble. 
Perhaps that is because I have always 




Medium tint for daytime 



been in the habit of using hand creams 
and lotions just as regularly as I would 
use cold cream on my face. 

"Even ordinary-looking hands may be 
made lovely if they are kept soft and 
smooth and nicely manicured. Much 
depends, too, on knowing how to use 
the hands. It was part of my regular 
dramatic training to learn to manage the 
hands. We had regular training in pan- 
tomime — had to sit before the class at 
an imaginary table and show the class, 
simply by the use of the hands, pre- 
cisely what we were doing. If we were 
pretending to be at the dinner table, 
we had to indicate 
precisely what kind of 
food we were eating. 
That sort of panto- 
mime work with the 
hands will help any 
girl to use her hands 
gracefully and with- 
out needless ges- 
tures." 

That wasn't so very 
long ago, and yet 
Miss Trevor recalls 
that then and later 
when she was playing 
in stock, before she 
went into pictures, 
deeply enameled nails 
were not generally ac- 
cepted. An actress 
used dark enamel only when she was 
playing the role of a rather fast woman. 
Now almost every girl in Hollywood 
favors red enamel. 

Miss Trevor favors very long nails, 
but she herself can't have them. Piano 
playing and tennis stand in the way. "Long 
nails," she says, "really aren't appropriate 
for the athletic type of girl, or for the girl 
who is interested in music or anything 
else that would make shorter nails easier 
to manage. It's the same way with 
rings. Large rings look best on lan- 
guorous women ; exotic, foreign rings look 
best on the exotic type of woman. For 
myself I still prefer my carved black jet 
ring, though I haven't used it to strike 
matches on since 'The Mad Game.' " 



lHnK£-UP BOX 

BEAUTY KNICKNACKS AND KNACK OF COMBING HAIR 



IT ISN'T A RAKE: See the little 
glad girl at the right? See the big 
hooked weapon? No, it isn't a rake 
though it looks like one. It's an elec- 
tric comb and you, and you, and you, 
who have been just too lazy or busy, 
or something, to brush and brush one 
hundred strokes each 
night for beauty's sake, 
can turn on the electric 
current and presto! 
Health, luster, 
strength, vitality flows 
through your hair. A 
Swedish inventor de- 
signed the comb and it 
has just arrived in 
America. No cords, no 
wires, and no electrical 
gadgets are visible, nor 
any electrical attach- 
ment or plug necessary. 
In the handle, however, a tiny battery 
supplies the gentle current of elec- 
tricity which flows through the curved 
teeth and stimulates the hair roots to 
renewed activity. You can't even feel 
the current and its only when a pocket 
lamp bulb is placed against the teeth 
and it lights up that you 
know a battery is there. 
Regular use of the elec- 
tric comb normalizes the 
oily glands and helps 
correct an oily condi- 
tion of the hair; dry 
hair and scalp, too, re- 
spond to this stimulat- 
ing treatment and in 
some cases, I am told, 
it restores the natural 
wave to the hair. And 
think what it will do 
for thin hair, dandruff, straight and 
stringy locks. Five minutes morning 
and night does the trick and you'll be 
astonished at the new beauty the use 
of this comb brings to your hair. 

AT HOLLYWOOD'S 
FINGERTIPS: The 

Hollywood people have 
been sitting up nights 
devising a number of new 
shades of nail polish for 
the moving picture ac- 
tresses, but it won't 
make them very cross if 
the good word is passed 
along. This particular 
polish has the endorse- 
ment of several Holly- 
wood stars (and both 
debutantes and dow- 
agers favor startling colors these 
days). There are such exciting colors 
as platinum pearl, coral, carmine, rose, 
cardinal, and tomato red. The polish 
is so moderately priced that you may 
have all the colors on your dressing 
table and the luxury of changing your 
polish to match your gown. But in 
addition to the luscious new shades, 
they told me that the polish itself 
would not crack, chip or peel. Being 
a Doubting Thomasina, I promptly ap- 
plied a coat of the tomato red to my 
nails. That was a week ago, and since 
then these poor little hands have been 
dipped into everything from cleaning 
fluid to suede shoe polish, and a care- 
ful scrutiny at this moment fails to 
reveal any change whatever in the 
gleaming surface of my nails. Hurrah! 

A LOVE OF A GLOVE: It's hard 
to decide whether news about gloves 
treated with a hand lotion should be 
turned over to the Fashion Editor or 






not. But gloves which have beauty in 
every one of their ten fingertips and 
which work while you wait, are 
something so specially interesting to 
all our MAKE-UP BOX readers that 
Fashion Department yielded grace- 
fully to Beauty Department with 
the special plea that I 
talk good style as well 
as good looks. So here 
goes. I've used them 
so I know very well 
whereof I speak when 
I say they're good to 
look at and good for 
you. They're lovely, 
soft, washable capeskin 
as fine as the finest im- 
port. But better than 
that, the linings have 
been processed, with 
glycerine, almond oil, 
wax, and honey. Shades of Cleopatra! 
So the gloves are delicately fragrant 
and perspiration-proof. Not only 
do they form a smart costume ac- 
cessory but they actually beautify and 
whiten the hands as well. It's a pretty 
practical idea because the gloves don't 
cost a sou more than 
an average pair of kid 
gloves. 

FAIR AND FALSE: 

Lest the mere mention 
of artificial fingernails 
seem utterly fantastic, 
may I hasten to explain 
that few have smooth, 
pale, perfect hands 
tipped by gleaming 
well-cared-for nails. All 
too often the devastat- 
ing routine of housework, typewriter 
tapping, piano lessons, not forget- 
ting the legion of fingernail biters 
(or what do you do?) results in brit- 
tle, broken, ridged, and ugly nails. 
So what? So, if you're clever, you'll 
get yourself a box of 
artificial fingernails. 
The nails look like thin, 
pearly shells. Place 
them snugly right over 
your own nails and 
cement thereon. All of 
which takes but five 
minutes. Then apply a 
favorite shade of polish 
and viola! 

ALL Gaul may have 
been divided into three 
parts, but the feminine 
world is divided into two parts . . . 
those who want to reduce the size 
of their bust and those who want to 
develop it. Because interest in this 
subject is so widespread, I inter- 
viewed several leading authorities, 
gathered all the available informa- 
tion and included it in this month's 
beauty circular which is yours for 
the asking. And if there's anything 
else bother- 
i ng your 
pretty heads 
write to — 



IbariilLvi 



// you would like further in- 
formation about the articles de- 
scribed, and other beauty news, 
write enclosing stamped en- 
velope to Marilyn, Beauty 
Editor, Make-Up Box, Tower 
Magazines, 55 Fifth Avenue, 
New York, N. Y. 




The New Movie Magazine, March, 1935 




CUTS DOWN 
ON STOCKING 



RUNS 




PURSUED BY RUNS! Jane Baker, lovely dancer, says: "A dancer's stockings 
lead a strenuous life. Still, you'd think en a vacation I'd get a rest from runs! 
But no! Then, one lucky day on my trip South—" story below 



KNEE ACTION NOW! Ar- 
riving in New York, Miss Baker 
poses for the camera men with 
perfect poise, thanks to Luxed 
stockings! " I've won freedom of 
the knees, ' 'she says with a charm- 
ing smile. "My stockings give 
without breaking into runs so 
easily!" Girls, try Miss Baker's 
plan! Avoid cake-soap rubbing, 
and soaps with harmful alkali. 
These things weaken elasticity 
—then threads may break in- 
stead of giving under strains — 
runs start. Use Lux today! 




SOMEBODY TOLD ME how Lux keeps stockings elastic and cuts down runs. 
I couldn't buy Lux on shipboard, but the Captain himself had a box in his locker. 
I started Luxing my stockings every day, and was I surprised! It's much easier 
to use Lux than to rub with cake soap— and hardly another run on my whole trip ! " 



LUX SAVES STOCKING ELASTICITY 



The New Movie Magazine, March, 1935 



39 




Barbara Pepper, Richard Brodus and Jacqueline Wells at the Fox studio gate 



Junior Hollywood 

GOSSIP 



MANY times some of the young 
stars, particularly the girls, 
have told me of the great un- 
happiness they have experienced on 
the set due to the unkindness of 
some more important player in the 
picture, or a director or producer. 
But Ken Goldsmith, producer, seems 
to have struck the perfect note of 
harmony. On the set of "Little 
Men," one moment would find him 
joking with Phyllis Fraser, or rough- 
housing a bit with Frankie Darro and 
Trent Durkin, and the next moment 
we would find him holding Dickie 
Moore on his lap, sharing a bag of 
candy. Yet no time was wasted, nor was 
there any disorder, and that is some- 
thing, with a cast of twenty-live chil- 
dren. It is not seldom, you know, that 
a star will resent a good performance 
given by one of the featured players, 
and he will often demand that certain 
punch lines be taken away from the 
other player and put in his own script. 
But there was none of this on "Little 
Men." 

THOUGH everyone has learned to 
love Anne Shirley since seeing her in 
"Anne of Green Gables," Anne has dis- 
covered that her new little dog is not 
quite as popular as she had hoped. A 
few days ago, Director George Nichols 
of RKO presented Anne with a little 
Scottie puppy. The dog, a thorough- 
bred from the John Considine Kennels, 
was immediately christened Angel Cake 
of Shi-Nic (you guessed it — half of 
Shirley and half of Nichols). However, 
all is not angel food for good old Shi. 
The first scathing look he received was 
from the superintendent of the apart- 
ment house. But that didn't daunt Miss 
Shirley. She was sure her friend, Cyn- 
thia Lawton, would like to see her new 
dog, so Anne hurried to Sunset Boule- 
vard to catch a bus. The buses stopped, 
but as soon as they got a look at Shi, 



they went merrily on 
their way without the 
two passengers. So 
to Hollywood Boule- 
vard and the trolley 
car line; but there 
Anne met the same 
complaint — no dogs 
allowed. Anne then 
phoned her good 
friend, Glen Boles, 
over at Warner 
Brothers, and he 
came to the rescue in 
his car and drove Anne and the dog on 
a round of calls. Some fun, thought Shi- 
Nic, but Anne seemed to be a little 
worse for wear. 

DHILLIP REED, I think, is the most 
deserving, up and coming leading man 
of the year. Phil is now under contract 
to Warner Brothers. Under his own 
name of Milton LeRoy, Phil served an 
apprenticeship of eight years in and 
around the New York theaters. I say 
"around" because even Phil admits 
much of the time at first was spent in 
stage entrances trying to catch the show 
manager on the way in. With two years 
of Sunday School Eastern pageants be- 
hind him, Phil landed his first role in 
a Hoboken legitimate, at $10 a week — 
but not until he had glibly rolled tons 
of words off his tongue, telling of years 
of experience in stock companies in the 
Middle West. I don't know why it is, 
but the "Middle West" always seems to 
get it in the neck. When an actor goes to 
New York without experience and tries 
to crash the stage, he invariably makes 
up stories of his acting experience in 
the Middle West. The same goes for 
young actors descending upon Holly- 
wood. I have yet to hear of an unpro- 
fessional who will admit he only pulled 
the curtain in graduation exercises at 
Hampton High. Anyway, Phil had it 
in his blood to be an actor, and nothing 



Henry Willson takes you on another trip through 

movieland with the younger players . . . Notes on 

Anne Shirley's dog . . . Mary Blackford's real life 

drama; and Alice Moore's birthday party 



TWENTY of Alice Moore's young 
friends helped celebrate her birth- 
day the other night at the Benedict 
Canyon home of Alice's step-father, 
Clarence Brown. Alice Moore, who is 
starting a film career and is one of the 
more attractive of the Hollywood 
younger set, is the daughter of Alice 
Joyce and Tom Moore. 

Present were: Nick Grindy, Clarence 
Brown and Cynthia Hobart (daughter 
of Henry Hobart, the director), Virginia 
Reed, Sarah Dudley, Ben Alexander, 
Johnny Downs, Dorothy Wall, Marie 
Wilson, Bob Boyle, Claire Myers, Felix 
Knight, Eddie Bellande, one of Amer- 
ica's leading air pilots; Johnny Newell, 
producer, Marion and Mildred Wilson, 
Ella and Billy Wickersham, Sidney Bur- 
nap, and yours truly. You will see the 
lovely Alice in Hal Roach's latest fea- 
ture, "Babes in Toyland." 

WHEN Betty Furness left on a 
Tuesday morning with her mother 
for Palm Springs, it wasn't twelve hours 
later that Bill Henry had secured per- 
mission from M-G-M to get a few days 
of much needed (according to Bill) 
sun-tan. There's no place like Palm 
Springs for that, you know, so Bill went 
to Palm Springs. We mentioned some- 
thing like "Oh, Betty went down there 
this morning, didn't she?" but Bill only 
blushed. He didn't have the tan yet, so 
it was easy to see his blushes. 

THANKS so much for the wonderful 
letters many of you have written to 
cheer up Mary Blackford, who is still 
lying in the hospital as a result of that 
terrible automobile accident. Mary gets 
such a thrill out of hearing from you 
all. You undoubtedly have read all 
about the benefit that the group of Hol- 
lywood's younger set put on for Mary 
Blackford, at the Cocoanut Grove — the 
profits of which went to pay Mary's 
doctors' bills. You've heard of the tre- 
mendous work they all did and the suc- 
cess the occasion was. 

Cold chills of thrilling real live drama 
went up our spines as Will Rogers 
stepped up to the microphone, disre- 
garded all rules of radio, and talked di- 
rectly to Mary over the Coast-wide 
hook-up. Mary, as she lay there on the 
hospital bed, listening to the radio, was 
completely surprised and overcome. The 
voice of Will Rogers rose as strains of 
Fiorito and his orchestra died down — 
"Hello, Mary darling, how are you to- 
night? Gee, this is a wonderful thing 
all your friends have gotten together 
and put on for you here at the Cocoa- 
nut Grove tonight, Mary. Every one I 
ever read about is here — you know, it's 
the first time I was ever in this place — 
but I'm telling you, Mary dear, the next 
time I come, it's going to be when I 
bring you." The tears streamed down 
Mary's cheeks, as Benny Rubin fol- 
lowed Mr. Rogers with a further tribute 
to her. All she could say, when we 
talked to her a few minutes later, and 
the nurse held the phone up to her 
blond head, was "It's so wonderful — 
but why are they doing all this for 
me?" She is thrilled over the letters 
you readers have sent her, and she asks 
me to thank you. 




Phyllis Fraser sneaks 
up on Frankie Darro 
to discover him reading 
(between pages of his 
script) a dime novel. 



could keep him down. At the end of 
five weeks they raised his salary to 
$12.50. One thing led to another and 
Phil found himself singing and dancing 
on Broadway. He was picked up by 
picture scouts and brought to Holly- 
wood. He hasn't sung or danced since, 
but then that's Hollywood. However, 
Phillip Reed has shown great promise 
in a couple of his recent Warner Broth- 
ers pictures — and I assure you he'll be 
one of the outstanding leading men of 
the screen before he's very many years 
older. Watch out for him! 




Phillip Reed (real name Milton Le- 
Roy) keeps in trim by playing tennis. 



40 



The New Movie Magazine, March, 1935 



IS 



Ike new XR least. . . 
a really great discovery 
for Constipation!" 



CONFIRMED BY GREAT 

DOCTORS EVERYWHERE 



Clinics, hospitals acclaim this stronger 
new yeast that corrects Indigestion . . . 
Skin Ills . . . Loss of Energy more 
quickly than any yeast before! 

TF you suffer from constipation ... if your 
-1 stomach gets upset ... or if your complex- 
ion is poor . . . take 60 seconds to read this! 

A famous American scientist, connected 
with a great university, has discovered a new 
yeast — a wonderful new kind of yeast. 

It is much stronger than any previous yeast . . . 
an entirely new "strain" of yeast . . . that acts far 
more swiftly . . . far more vigorously! 

Such eminent physicians as Dr. Georges Rosen- 
thal (at right), past president of an important 
medical society, say, "It gives the quickest results 
for constipation ever seen from yeast." 

XR Yeast speeds up the juices and muscles of 
your intestines — also of your stomach! 

Then your food digests better, is kept softer, and 
is more easily eliminated. You lose that "stuffed" 
feeling . . . that distress after meals. 

Can end Cathartic Habit 

Then you should be able to stop taking cathartics 
that weaken you, make your trouble worse. Soon 
your blood is purified, and your skin is cleared of 
pimples, looks radiantly healthy. 

Those awful headaches usually stop. Your old 
energy comes back . . . you're more cheerful ! 

In addition, the new XR Yeast supplies Vitamin 
A which combats colds. It is also rich in Vitamins 
B, D and G . . . giving you four vitamins. 

Get some Fleischmann's XR Yeast right now . . . 
at your grocer or a restaurant, or soda fountain. 

Eat three cakes every day — before meals — plain 
— or in }/% glass of water. Begin to eat it today 
. . . and keep on for at least 30 days ! 



4t ! 




erfH, 




FOUR FAMOUS PHYSICIANS discuss tests on the new XR Yeast. "It acts 
far faster," states Dr. Henri Stevenin, glandular expert (at left). "Astonishing 
results ... it relieved 19 out of 21 cases of severe constipation," says noted Dr. 
Fernand Tremolieres, stomach specialist. "My tests showed remarkable results 
on run-down cases," reports Dr. Joseph Mouchotte, world-famous gynecologist. 
"Of great medical importance," says Dr. Georges Rosenthal, noted specialist. 

Copyright, 193s, Standard Brands Incorporated 



The Neiv Movie Magazine, March, 1935 



41 



it 



(TOOK IT 




when I was a little girl" 

HERE is a scene that happens thou- 
sands of times a day. 

For how natural it is for a mother to 
give her child the laxative that she, herself, 
has taken and trusted ever since she was a 
little girl. The laxative her mother gave 
her. For 28 years Ex-Lax has been America's 
favorite laxative. Its leadership has never 
been challenged. More people buy it than 
any other laxative. There must be a reason. 
There are . . . reasons! 

Ex-Lax checks on every point 

Before you ever take a laxative, or giveoneto 
any member of your family, be sure it checks 
on these points ... Is it thorough? Is it 
gentle? Are you sure it won't form a 
habit? Is it pleasant to take? 

Many laxatives check on one point or 
another. Ex-Lax checks on all! 

Ex-Lax is as thorough as any laxative you 
can take. Completely effective. Yet Ex-Lax 
is so gentle it will not cause stomach pains, 
or upset you, or leave you feeling weak 
afterwards. Except for the perfect results, 
you hardly know you've taken a laxative. 

Ex-Lax positively will not form a habit 
— you do not need to keep on increasing 
the dose to get results. And that is a vitally 
important point in a laxative. 

And Ex-Lax is such a joy to take. Instead 
of swallowing some bitter medicine, you 
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I'LL QUIT Before I FAIL 

Dissatisfied — but only because she's a great actress 
— Helen Hayes vows she'll go back to the stage 



I DON'T like myself on the screen 
any more — there's no getting 
around it — and unless I change 
Ir in the way I feel about myself 
I'll just have to quit." 
. And only a few days before Ann 
Harding had said to me: "Helen Hayes 
is the greatest actress on both stage 
and screen!" 

What Miss Harding said was readily 
believable. What Miss Hayes now said 
was incredibly astonishing. Here were 
two opinions from eminently intelligent 
sources both unmistakably sincere, yet 
so wholly contradictory as to be utterly 
chaotic. 

This was not an interview, it was an 
apocalypse, a revelation of the soul of 
an artist who felt herself frustrated by 
her own art. But even Helen Hayes 
could not make me agree with the judg- 
ment she passed upon herself. At the 
same time it was refreshing to hear, for 
once, a distinguished actress admired 
and praised by millions the world over 
who had not a single word to say for 
herself. More, it was a discovery, a 
stimulating adventure into 
the mind of a great public 
favorite free of all private 
vanity. 

There is a Helen Hayes 
that you know. But here 
is a Helen Hayes you do 
not know. You get off in a 
corner with her and find a 
quite different person from 
the one you had imagined 
. . . quite, but not wholly 
different. The two have 
one thing in common — an 
abiding honesty. Both, too, 
have the true distinction of 
simplicity. Helen Hayes is 
always the woman, never 
the poseuse. 

Wrapped in a dressing- 
gown and huddled into a 
chair near an open window 
of her apartment at the 
Beverly Hills Hotel, she 
was just herself, not at all 
the attitudinizing star given 
to self-glorifying flights in 
the temperamental heavens. 
I had experienced that kind, 
and it was a relief and a 
joy to meet one with no 
nonsense about her. 

"But," I wondered, 
"you're not through with 
pictures?" 

"I'm through with them 
for a year at least," replied 
Miss Hayes. "I've already 
arranged to go on a stage 
tour in 'Mary of Scotland' 
through the South and 
Southwest. Though I'm 
not particularly interested 
in the key cities, having played them 
before, I'm loking forward with keen 
interest to doing the one-night stands. 
They will make it similar to Kit Cor- 
nell's remarkable tour — and that sounds 
like lots of fun, a real adventure. It 
means playing to new audiences, per- 
haps to people who've never seen a play 
and are ready to enjoy it as a novelty. 
Only the other day I had a telegram 
from a city official of Birmingham, Ala- 
bama, asking, 'Why aren't you coming 
to Birmingham?' That excited me as 



By 

CHARLES DARNTON 



nothing has done in a long time be- 
cause of the eagerness and enthusiasm 
it suggested, something fine and very 
heartening." 

Her eyes lighted and her face glowed 
as the prospect, the trouper in her fly- 
ing its flags. 

"The last time I did one-night 
stands," she recalled, "was with John 
Drew. That was in the northern part 
of New York state. Most of the houses 
we played didn't even have doors on the 
dressing-rooms — we had to pin up sheets 
— but Mr. Drew went from one to 
another of them as though he were pass- 
ing through salons. He never lost his 
charming manner, his wonderful poise. 
Oh, there have been good times in my 
life!" 

All of which implied that the present 
time was not so good. Still, it seemed 




only reasonable to suppose the screen 
might offer something to the stage 
actress. 

"Primarily it offers a broader audi- 
ence," said Miss Hayes. "This is 
true not only of the screen but of 
the stage. For example, during the New 
York run of 'Mary of Scotland' I was 
astonished to find the balcony and gal- 
lery sold out weeks ahead. That un- 
usual condition could be put down only 
to the movies, the fact that I had played 
in them and become known to more 
people than had known me before. It 
seems to be true today that the entire 
world is not theater-conscious unless it 
is lured there by something outside 
the theater. Otherwise people stay 
away. I don't think they up and go 
to the theater of their own accord. But 
they are pretty sure to go and see 
someone they have seen on the screen." 
"Do you think that picture stars who 
came from the theater should go back 
to the stage at times?" 

"I once got myself into a peck of 
trouble saying so," Miss Hayes reflected, 
"but I still believe it. Why 
not? I think it is up to 
those who have made a lot 
of money in pictures to go 
back and do something for 
the stage, which gave them 
their chance on the screen, 
if only out of gratitude. 
Once I said as much to 
John Barrymore. He turned 
pale — it wasn't imagination 
on my part, he actually 
went white — and declared 
he never again would have 
the courage to face an audi- 
ence. Well, I have, for I 
like audiences." 

It was obvious, however, 
that Helen Hayes did not 
play for the love of ap- 
plause, but for the love of 
what she was doing. And 
it was the doing of it 
that now concerned her so 
deeply. 

"I'm afraid," she ad- 
mitted, "that I'm just a real 
stodgy old-timer." 

When I repeated what 
Miss Harding had said of 
her, that she was the great- 
est actress of both stage 
and screen, she joked: 
(Please turn to page 56) 



Wide World 



Always natural, never 
a poseuse, Helen 
Hayes returns to her 
first field of success, 
the stage. But rumor 
has it that she will go 
to Russia to make a 
picture with husband 
Charles McArthur. 




42 



The New Movie Magazine, March, 1935 



t* t9 jV D S 




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Hinds is a penetrating liquid cream — it lubricates the skin 
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gives a satiny smoothness that is thrilling. 

So always use Hinds after you've washed things out — and, 
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years, because it does so much real good to the hands. And so 
economically! Though so rich and fragrant, Hinds costs only 
25^ and 50^ at your drug store, ioj£ at the dime store ! 



am/ 



The New Movie Magazine, March, 1935 



43 



WHY COOK 
VEGETABLES 
FOR BABY? 





Heinz retains higher 
vitamin content 
than is possible with 
ordinary home- 
kitchen methods 



MOST home-cooked, home-strained 
vegetables cheat baby of vitamins 
and mineral salts he should have. Often, 
market vegetables are days old — already 
having lost precious nutrient content. 
Ordinary home preparation methods 
further dissipate these values. 
Tests prove that in Heinz Strained 
Foods vitamins and minerals are re- 
tained to a far higher degree than is 
possible with ordinary home methods. 
Heinz vegetables are hours-fresh. They 
are cooked and finely strained without 
exposure to vitamin-destroying air, then 
vacuum-packed into enamel-lined tins. 
Try three tins of Heinz Strained Foods. 
Notice how quickly your child takes to 
their fresh flavor and color. And know 
that he is getting, day after day, an 
abundant, even quota of the precious 
nutrients he needs. Ask your grocer. 



• BABY'S DIET BOOK.- It shows what each 
vitamin and mineral salt does for Baby — and 
what foods each is found in. This new 60-page 
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HEINZ 

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A Group o! lho 57 Varieties 




Chatting over the back fence — Bette and Martha Ford. Martha knows about actors; she married one. 



B 



ETTE DAVIS has be- 
come, virtually over- 
night, a young lady of 
some importance. But she's 
still the same Bette Davis who 
went early to bed, the night 
before the now momentous 
opening of "Of Human Bond- 
age." 

And twenty years from now, 
a little older, a bit less youth- 
fully blonde, but every bit as 
dynamic, she'll still be Bette 
Davis. You can change the 
course of a mountain spring 
but you can't change the pur- 
ity of the water. She may have 
learned to express her opinions 
a shade more fearlessly in the 
years between the time she be- 
gan to develop herself as a per- 
son and now, but you can be 
perfectly certain that those 
opinions, though dormant, have 
always been basically the same. Bette's 
a New Englander. You can dress a New 
Englander up like the Lilies of the Field, 
but he remains at bottom a slightly 
hide-bound, principled, courageous, am- 
bitious, God-fearing, worldly-wise but 
straight-marching conservative. 

Bette and I have known each other 
a good many years, as friendships go, 
but, in all that time, I've never known 
her to be in any way other than herself. 
I'll admit, and Bette will admit, that 
she has developed a more "glammy" ex- 
terior, but her ideas and ideals — ah, 
shades of Ruthie, the grandest of all 
mothers — are today as they were yes- 
terday and as they will be tomorrow. 

She has all the determination and 
"drive," of the creatures on earth, in the 
sea, in heaven and under the earth. 
She's stubborn as a mule and sweet as 
the early dew. You can lead her, with 
reason and understanding, into any 
"dark forest" — but try to drive her, 
even into "Primrose Paths"! There are 
those who say she's willful — I say she's 

Wide World Photos 



BETTE DAVIS 

from 
New England 

Some say she is willful. Bette thinks 
she's spoiled; but she is courage- 
ously determined to Martha Ford, 
her old friend and neighbor 



courageously determined — she says she's 
spoiled. The result is a young woman 
of glorious singleness of purpose. Fight 
she will and weep she can, but turn 
back, never! 

Belying the far-famed New England 
conscience and fear of witchcraft in all 
its forms, Betty adores things wild and 
woolly. A howling wind, a darkened 
room and Edgar Allen Poe, read under 
difficulty in the semi-darkness, are her 
meat. Oh, the fun we've had with spirit 
writings from "Planchette"! We don't 
really believe, down in our hearts, but 
for days, we look fearfully behind us at 
the sound of Little Footsteps — and the 
sudden banging of a door has been 





known to throw us into deli- 
cious hysteria. Even smart 
girls, like us'ns, like to be 
"spooked" every now and then. 
I'll never forget the night — 
but that's beside the point. 
Sufficient it is to say that our 
Bette put her conscience in 
cold-storage and let the "other 
world" have its way with us! 

She has lived in two of 
Charlie Farrell's houses. What's 
good enough for one New 
Englander is good enough for 
another, Boston or Cape Cod 
notwithstanding. Both houses 
are as distinctly Bette as they 
are Charlie — passively En- 
glish, beautifully complete, 
with touches of a forgivable 
"capitalism" here and there in 
the form of deep, deep rugs 
and very old "objets d'art." 
But Bette sleeps in Ham's 
pajamas, in her taffeta and lace bed, 
and Ham's pajamas are only just pa- 
jamas. They're a size and again too 
large for Bette and it leaves poor Ham 
a little short at the end of the week. 
But those two sublime idiots adore each 
other. If ever I've seen a really fifty- 
fifty marriage, theirs is it. Ham won't 
and doesn't have to live on Bette's 
money and Bette won't and doesn't 
have to live on Ham's. The answer to 
the equation being a pooling of inter- 
ests that has Solomon beat all hollow. 
They make each other sentimental but 
crazy little presents. 

Ham's a musician, and the other day 
Bette bought four little men with musi- 
cal instruments made of wood, for 
Ham's own private orchestra. But she 
also bought two tiny elephants filled with 
phosphorus, that gleamed wickedly in 
the night. She decided that the pink 
elephants would make a better show as 
a surprise on Ham's night-table, so she 
switched them. Suddenly, in the. middle 
(Please turn to page 61) 



Bette's husband, Harmon 
(Ham) O. Nelson, the toy 
band and the elephants which 
glowed at night and made 
him think he had D. TVs. 




44 



The New Movie Magazine, March, 1935 



NOW NEW POWDER SHADES 




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The New Movie Magazine, March, 198 5 



45 



No more 
dizzy spells 

now! 




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LAXATIVE 



YOU TELL US 

This department is the People's Academy. The people whose names appear here 
attend the movies. Their letters serve as a guide to the type of entertainment 
that they like or dislike. These opinions are their own and do not represent 

NEW MOVIE'S point of view. 



Picture Stealers? 

There is a grand quintet 
of funsters who come in 
for very little praise, but 
rank ace-high in this fan's 
estimation. They are 
Hugh Herbert, Guy Kib- 
bee, Frank McHugh, Ned 
Sparks and W. C. Fields. 

One of Hugh Herbert's 
sheepishly innocent looks 
is enough to panic any 
audience. Frank McHugh. 
in addition to being the 
perfect screen drunk pos- 
sesses a patented laugh 
that gets everybody. Ned 
Sparks is the prince of 
sarcasm, and this was 
never better demonstrated 
than in "Lady for a Day." 
Guy Kibbee is the perfect 
"sugar daddy" and por- 
trays the portly old gen- 
tlemen whose idea of a 
good time is to have some 
"sweet young thing" do 
him wrong. W. C. Fields, who has re- 
cently been elevated to stardom is now 
coming in for his belated share of praise. 
His paint mixing scene in "Tillie and 
Gus," and the billiard scene in "Six of 
a Kind" was a signal for fans to indulge 
in side-splitting laughs . . . and we 
gave them the works. 

So I say, praise to you gentlemen of 
the screen, on whose shoulders often 
rests the success of a picture, but who 
seldom get the credit! — Mrs. Howard 
Cooksey, 2709 Lochmore Avenue, 




"Miriam is so alive"; "The simple word 'charm' is Irene's' 
"Colbert is a sure cure for your blues," say fans. 



conscious of what she is 
wearing; I am so absorbed 
by her vital, compelling, 
emotional portrayals. Her 
voice is delightful, too; 
smooth, deep-toned and as 
vibrant as her whole per- 
sonality. 

It gives one a feeling of 
triumph to watch such 
fearless, vivid acting! — 
Mrs. W. C. Tobie, 99 
Hancock Street, Cam- 
bridge, Mass. And wait 
till you see her in the all- 
color picture, "Becky 
Sharp." 

Old Friends 



NEW MOVIE MAGAZINE pays one dollar for every interesting 

and constructive letter published. Address communications to 

A-Dollar-for-Your-Thoughts, NEW MOVIE MAGAZINE, 55 Fifth 

Avenue, New York, N. Y. 



Raleigh, N. C. Gentlemen, above-men- 
tioned, you can now step up and take a 
deep bow. 

Miriam the Charmer 

Miriam Hopkins is to me the most 
charming woman on the screen because 
she is so alive and doesn't give the im- 
pression of hiding her real self behind 
a mask. 

When most actresses appear I look 
first at their clothes, then at their faces 
but with Miss Hopkins I am scarcely 



It gives us movie fans 
as much pleasure to see 
the picture of Henry B. 
Walthall in the New 
Movie as it gave you to 
print it. For years we 
have been Walthall fans 
and it makes us feel great 
to see him get a chance to act again. 
We have just come from seeing him 
play the Rev. Ashby in "Judge Priest," 
and a finer piece of acting we have 
never seen. Let us hope he gets the 
parts he rightfully deserves. 

Please let us see more about him in 
the New Movie Magazine. — Mr. and 
Mrs. L. Schneider, 283 S. Ann Street, 
Baltimore, Md. You can help him con- 
tinue in pictures by writing to his studio 
{Fox), Mr. and Mrs. Schneider. 
{Please turn to page 62) 



A NEW MOVIE MAGAZINE FAN WILL PRESENT THESE AWARDS 



The People's Academy of Motion Pictures (sponsored by 
THE NEW MOVIE MAGAZINE) will present twelve gold 
medals for what the readers of this magazine consider to be 
the twelve outstanding achievements of the year 1935 in the 
films. Letters from our readers, carefully tabulated, will be 
the sole guides to these awards. It is your vote that will 

1. BEST ALL-AROUND FEATURE PICTURE 



2. BEST PERFORMANCE (ACTRESS) 



3. BEST PERFORMANCE (ACTOR) 



count when we make the final decision! 

Address letters to The People's Academy or Dollar 
Thoughts department of this magazine, 55 Fifth Avenue, 
New York, N. Y. 

Write us what you think. Medals will be given for the 
following: 

7. BEST ROMANCE 



4. BEST MUSICAL PICTURE 



5. BEST HUMAN INTEREST PICTURE 



6. BEST MYSTERY PICTURE 



When all these votes are counted at the end of the year, the 
winners will be named. Then the fan whose vote most 
closely tallies with the final compilation will be given a trip 
to New York or Hollywood to present the awards. The stars 
and producers who win the medals will be there in person 



8. 


BEST 


COMEDY 




9. 


BEST 


SHORT REEL 


PICTURE 


10. 


BEST 


NEWSREEL 


PICTURE 


11. 


BEST 


DIRECTION 




12. 


BEST 


STORY 





Name . 



to receive them, wherever production schedules permit. All 
expenses to and from Hollywood or New York and enter- 
tainment, hotel accommodations, etc., will be borne by THE 
NEW MOVIE MAGAZINE. Be sure to cast your vote 
carefully and YOU MAY WIN THIS THRILLING TRIP. 



Addr 



46 



The New Movie Magazine, March, 1935 




WRONG! 

Harsh, old-fashioned 
acetone-type polish re- 
movers can actually make 
your nails look like this I 
If you use them regu- 
larly, your cuticle will 
grow hard. Your nails 
will break and chip for 
no apparent reason. 




RIGHT! 

A smooth, even, perfect 
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nails like these follow the 
regular use of Cutex Oily Pol- 
ish Remover. Helps keep cu- 
ticle soft and unmarred, and 
nails from growing brittle. 
And all without leaving a 
film to dull your manicure! 



Don't ruin your nails with dangerous 
acetone-type Polish Remover 




The way you remove polish can make your nails 
brittle or keep them smooth and strong . . „ 



THE new soothing Cutex Oily Polish Re- 
mover will make all the difference in the 
world in the looks of your cuticle and nails. 

It's simply criminal to ruin their natural 
smoothness and strength with harsh, old-fash- 
ioned acetone-type polish removers! Because 
they are dangerously drying, they make your 
cuticle hard and rough, and your nails brittle — 
easy to break. If you go on using them, you 
might as well give up all hope of having 
glamorously lovely finger tips! 

Cutex Oily Polish Remover can't dry your 
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and your nails healthy. It will improve the 



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Try it. Cutex Oily Polish Remover comes in 
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Your favorite store has it ... go right out 
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cuticle always beautifully pliant, your nails 
smooth and strong. 

NORTHAM WARREN 3 NewYork,Montreal,London,Pans 



After using Cutex uily Polish 
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The New Movie Magazine, March, 1935 



47 




From wishes 




...to ki 



isses 

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Can Love Last in 
Hollywood? 

{Continued jrom page 4) 

building contractor, romance would be 
excellent 'staff work' with which to or- 
nament the building, but that is all." 

"So many of my friends insist that 
the romance with their wives is as 
strong after ten or fifteen years as it 
was in the beginning! That is foolish. 
If they would only say they love their 
wives as much as they did fifteen years 
ago, I would likely say, 'You probably 
love her much more.' 

"My idea is that, when two people 
are considering marriage, romance should 
not enter into it. First they should find 
what they have in common. What are 
their aims and what kind of background 
do they want for life? Surely every- 
body wishes to build some kind of back- 
ground. If a man and woman find they 
have something fine to contribute to 
this union, and there is no antipathy be- 
tween them, they have the first plank 
for their marriage platform. 

"In my own case, I know my mar- 
riage was the most important step in 
my entire life, and the fact that Ruth 
and I agreed before we married that we 
wanted children was another momen- 
tous occasion. When couples have 
talked over the subject of children — and 
it should be talked over before marriage, 
make no mistake about this — and find 
they agree, they have a good start. 
Our boy and girl gave us a joy and an 
incentive that nothing else in the world 
could replace. 

"I was disgusted when I read last 
week that two-thirds of the children to- 
day are biological accidents. Never in 
the history of the world have as many 
children been planned for as are being 
planned for now! 

"Why, in the picture industry, if we 
have no children and are not making 
preparation for the arrival of the stork, 
we are as much taboo as if we had 
never heard of Emily Post. The woman 
who hasn't a baby now is terrified that 
all her friends will think she is too old 
to have one. And we men are all jittery 
for fear some one may cast a look of 
condemnation in our direction. Every- 
body is keeping especially fit, and ba- 
bies are the order of the day in Holly- 
wood." Many artists of the stage and 
screen believe that romance — new ro- 
mance, is absolutely necessary to the 
life of any creative artist. 

NOT Mr. Howard. He believes that 
this is an adolescent viewpoint. 
"But." he adds, "the probabilities are 
that fifty years from now we shall have 
two kinds of marriage, if we have mar- 
riage at all. One, a marriage between 
two people who want the balance of the 
world to know that they have chosen 
each other from all the world, but who 
have no idea of having children. This 
would not be unlike Judge Lindsey's 
companionate marriage. 

"The other marriage would have, as 
its prime reason for being, the purpose 
of having children, and the marriage 
would be legalized so all the interests of 
the offspring might be protected. 

"Of course, should the time come 
when we have two marriage ceremonies, 
the childless couples would undoubtedly 
be taxed heavily, as bachelors are now 
in some localities. Strangely enough, I 
imagine there would be some sort of 
stigma attached to that sort of mar- 
riage, for unless physically unfitted for 
parenthood — they would be proclaiming 
loudly to the world at large their selfish- 
ness. 

"Fifty years from now," he mused, 
"my children will have made most of 



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their important decisions about life. My 
little boy is now fourteen, and my little 
girl eight. Their children, however, will 
come under the new regime." 

He hesitated a moment, as if making 
up his mind. 

"I suppose I am going to incur the 
everlasting ridicule of physicians and 
psychoanalysts when I say that / do not 
think that physical compatibility is the 
most important factor in marriage. If 
all of us were as exclusively interested 
in sex as Dr. Freud would have us be- 
lieve, before long there would be no 
human beings left in order to carry on 
the race! 

"Naturally, I can speak more posi- 
tively about Englishmen. I know they 
do not select a wife largely for her sex- 
appeal. An Englishman feels his wife is 
part of him, just as much as his family 
into which he was born. 

"The attachment for a wife is based 
on something far more lasting . . . love, 
tenderness, kindness, nurture . . . the in- 
stinct that unites one to some other one 
as if a part of self, with a desire to 
benefit and bless. Marriage is like that. 
It clicks and locks ... an interlocking 
of personalities. English wives do not 
have to be wondering every minute if 
they are still able to charm their hus- 
bands. Some English wives have even 
been accused of looking 'dowdy' be- 
cause they give less thought to 'dolling 
up,' as it were. And Englishmen some- 
times appear less chivalrous because it 
does not occur to them that they must 
be winning their wives over every day 
in order to hold them. She is simply 
the other half of him . . . and his better 
half. She, too, I believe, takes her 
marriage more seriously, recognizing 
the obligation as a partnership. 

"T~"\ON'T misunderstand me, though. I 
*~* have no objection to divorce when 
there is need for one. If neither party 
attempts, sentimentally or financially, to 
exploit the other, I don't see any more 
disgrace in divorce than there is in the 
dissolution of any other partnership . . . 
say, like real estate. But every court 
seems determined that somebody shall 
sin before that somebody can be freed 
from the exclusive rights vested in 
another. 

"I can only hope that my children 
will be ready to meet any conditions 
that arise. Young people of today are 
making new evaluations of this lop- 
sided world. They have more knowl- 
edge than any previous generation has 
ever had, yet they are looking for es- 
cape. Every advance in learning, I 
fear, has tended to impress upon them 
our gnat-like insignificance in the gen- 
eral scheme of things, so they rush head- 
long into deeper and deeper experiences, 
always fighting to make their stand in- 
tellectually respectable. 

"Even now, their attitude is not sen- 
timental. While they may not agree that 
marriages are made in heaven, neither 
do they concede that 'Theodore Drei- 
ser's rearranging chemisms are an ade- 
quate explanation of the way a man 
feels about a woman in the springtime.' 

"Of course, fifty years from now the 
world will have moved up immeasur- 
ably; science will have contributed so 
much that it may change habits and 
dispositions as much as they have 
changed in the last fifty years. It is not 
unlikely the physicists will have dis- 
covered how to release the energy in 
the atom, and the results of this will be 
too far-reaching even for anyone to 
contemplate. 

"And if babies are then produced by 
chemists in laboratories, as many hon- 
estly believe they will be, it will not 
matter so vitally whether you have fol- 
lowed the advice of a sex exponent or 
listened to a rather more practical view- 
point as presented by yours truly." 



48 



The Neiv Movie Magazine, March, 1935 



DO I LOOK 
UNPLEASANT? 




That is the question which 

Helen Vinson, weary of 

playing so many movie 

"cats/ 7 asks herself 

By RUTH HARDY 



In "The Life of Vergie Win- 
ters" Helen was John Boles' 
selfish wife. 



I 



'M so weary of playing 'cats'," 
declared Helen Vinson with em- 
phasis, as we chatted one after- 
noon. "Sometimes I scrutinize this 
face of mine in the mirror to find just 
what it is that inspires this unpleasant 
casting. Even in "As Husbands Go," — 
my biggest lead to date — I played a 
selfish, self-centered woman. Honestly, 
do I really look so unpleasant? 

"Perhaps I sound ungrateful. I'm 
not. I think I've had marvelous luck 
and I would have been tickled to get a 
foothold in the movies starting out with 
any kind of parts. But typing is dan- 
gerous, and now that I'm 'in', I wish I 
could get away from vamp roles and 
be a little human. I'm sure I could 
be nice if I could only get the 
chance!" 

And I expect Helen will get the 
chance if her heart's set on it. 
Luck has played a big part in her 
career, but determination, grit and 
the willingness to work hard are 
outstanding characteristics of the 
Vinson make-up. She's the type 
that usually succeeds in anything, 
once she's set her heart on it — as 
witness her rapid progress in pic- 
tures. 

This girl is one of the prettiest 
newcomers to the screen but, thank 
heaven, she isn't an exponent of the 
glamour school of beauty. There is 
nothing pseudo-Garbo-ish in her ap- 
pearance, as in that of so many 
young starlets nowadays. Her blond 
wavy hair is arranged in a neat, 
smart coiffure close to her head, 
rather than in the shoulder-length 
bob so popular with the glamour 
girls. And her eyelashes are her 
own. Her make-up is untheatrical and 
her grooming perfect. She has a quiet 
charm and a beautiful speaking voice. 
This voice of hers is a product of cul- 
tivation rather than a gift of nature, 
too, she confides, and she is proud as 
punch over it, for it took long months 
of study to banish the pronounced 
southern drawl she once had. Studying 
Italian and French pronunciation did the 
trick, she explains. 

Miss Vinson is a Texas product. Stu- 
dio publicity has stressed her social 
background, picturing her as a frivo- 
lous pampered debutante of extremely 
wealthy parents who indulged her every 
whim. This, to put it mildly, is an 
exaggeration and amuses Helen as much 
as it does her Texas friends. 

The Rulfs — that's Helen's family 
name; Vinson was picked out of the air 
— were of only moderate means when 
they lived in Houston, Texas. Her fa- 



ther had a good position with an oil 
company and Helen had pretty clothes 
and attended dancing school and riding 
academy, but the family had neither the 
financial resources nor the inclination 
for the whirl of high society. Rather 
than exclusive private schools, as the 
press-agents have it. Helen attended San 
Jacinto High in Houston. After gradu- 
ation, rather than attend a snooty fin- 
ishing school, she enrolled in the Univer- 
sity of Texas, where she was elected by 
her fellow-students as Beauty Queen of 
the campus. After two years of college 
she returned to her home, but. instead 
of making a brilliant debut, she inter- 
ested herself in Little Theater work as a 
hobby. In short, Helen was just a 
pretty young girl of upper middle-class 
background like thousands of other girls 




Ernest Baclirach 
Helen may think this face is unpleasant, 
but few will agree with her. 

in every city and hamlet of the United 
States. The traditional "silver spoon" 
of which the press-agents write was not 
in her mouth at birth; it was presented 
to her as a wedding present. But we'll 
get to that later. 

As a child, Helen was quite a movie 
fan and even staged plays in the family 
garage at five cents admission with the 
kids of the neighborhood. When she 
was older, her friends impressed with 
her unusual beauty and her Little Thea- 
ter acting, had often advised her, "You 
ought to be in pictures," but despite all 
this, Helen had never seriously consid- 
ered a professional career. 

Once or twice during her childhood. 
her mother thought she recognized tal- 
ent in her young daughter which might 
lead to a career. In dancing school she 
shone with brilliance, practising ardently 
and then rounding up all the neighbor- 
(Please turn to page 71) 





It was Ada who really saved me. I was 
telling her how Bill and I had quarreled 
that morning because I couldn't get his 
shirts white enough to suit him. 




And am I glad I listened to Ada! My 
washes are like snow. They've lost every 
bit of "tattle-tale gray." Bill's so tickled 
with the way his shirts look that he's 
been sweet as pie ever since! 



"Your trouble sounds like 'tattle-tale 
gray'," Ada told me — "and that means 
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The New Movie Magazine, March, 1935 



49 



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Nitwit 
Incomparable 

{Continued from page 32; 

One day, at a Press Club show, he 
contributed to the general hilarity by 
doing an original monologue, a parody 
of a Babbitt's after-dinner speech, be- 
fore a gathering of fellow-Babbitts. His 
skit proved to be so funny, that he was 
prevailed upon to give up the printer's 
ink for grease paint. 

He had_ to begin from the bottom. He 
played in the sticks for a season or 
two in small time vaudeville. But the 
folks in the cowshed circuit did not 
relish much his peculiar lackadaisical 
humor. 

His stuff, however, went over big in 
New^ York, when his fellow-alumnus 
from Notre Dame, J. P. McEvoy, fea- 
tured his antiques in his Americana. 
Charlie was McEvoy's secretary at the 
time and wrote gags for him. The 
metropolitan crowd vastly enjoyed his 
comedy bits, and his subsequent inani- 
ties in "Sweet Adeline" made him the 
premier madcap of Broadway. 

r_T E now pal'd around with the wits 
*■ ^ of New York; Heywood Broun. 
Frank Sullivan and Robert Benchley be- 
came his close friends, and remain to this 
day. One of the epigram slingers he 
parried with was Dorothy Parker. He 
was especially intimate with Heywood 
Broun, who saw him in "Sweet Ade- 
line" 24 times. They used to see each 
other almost every day, and made the 
rounds together of the night spots in 
Harlem and the other favorite haunts 
of the intelligentsia. 

One of Charlie's most prized posses- 
sions is the following letter from Ring 
Lardner, written to him while he was 
cutting-up in "Sweet Adeline." 

Hotel Pennsylvania, 

New York 
September 22, 1929 
Dear Mr. Butterworth: 

Sometimes it becomes necessary to 
write a mash note. Your performance is 
so good that I'm afraid I'll have to see 
the damned thing three or four more 
times. Don't take this as final. 

I nourish the selfish but forlorn hope 
that you'll be out of a job the year I 
write a musical. 

Yours sincerely, 

Ring Lardner. 

Warner Brothers signed him up for 
two pictures, and he hopped on a train 
to Los Angeles to garner his share of 
the big movie coin. He was the life 
of "The Life of the Party," his first pic- 
ture. As Col. Joy from Kentucky, a 
breeder of fine horses, suh, he lent his 
individual brand of madness to the 
screen in this Vitaphone production. 

He returned to New York for another 
fling at Broadway, and came back with 
a pretty wife, the former Ethel Suther- 
land, to settle here for good. He is 
now under contract to M-G-M for 
some time. 

Charlie's favorite game is a nice juicy 
steak. He sets himself at peace with 
the rest of the world by generous quaffs 
of light table wines. He has developed 
a taste for fine cuisine. 

"I hate to tell my wife what to get. 
I let her go ahead and prepare her own 
menus," he said, with husbandly satis- 
faction. "An element of surprise is 
necessary in the enjoyment of good 
food." 

His hobbies are, in the order named, 
loafing around the house doing noth- 
ing, playing tennis, reading, and writing 
his lines. He ducks the evening dol- 
drums by going to the prize fights, where 




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his quizzical face is a familiar sight in 
the front rows. 

In spite of the bravura he affects as 
an ex-lawyer and newspaperman, Charlie 
in reality is a very bashful and retiring 
man. He feels lost in a crowd. "I am 
never lonelier than when I am in com- 
pany," he admitted. "You have to drag 
me to a party." 

He appreciates in others a sense of 
humor more than anything else. "I 
can't stand people who take themselves 
too seriously," he said. His favorite 
actors are the comedians, notably 
Charlie Chaplin. He thinks highly also 
of W. C. Fields and the mad Marx 
brothers. "The comedians," he said, 
"have a sense of the ludicrous, which 
keeps them from making themselves 
ridiculous." Among what he calls the 
"legitimates," he prefers Leslie Howard 
and Herbert Marshall. But Charlie is 
definitely not a picture fan. He sur- 
prised me when he said he hadn't seen 
"Queen Christina." 

I_T E has no definite views on the art of 
■*- -* comedy. His is an instinctive and 
reflective sort of humor. "I must have 
a comedy twist in my nature," is his 
explanation of how he secures his comic 
effects. "In general, I imitate characters 
I have met, emphasizing their eccentrici- 
ties. South Bend has had a great in- 
fluence on my acting career. Early 
memories are naturally the strongest." 

Charlie hasn't had his days of full 
glory on the screen yet. He may get a 
chance at stardom, since the character 
actor is coming into his own in the 
films. 

"What I should like to portray most 
of all," he said, "is the futility of man. 
The type I have in mind is a pathetic, 
constantly blundering fellow who does 
not fit into our present-day society, and 
is oppressed with a sense of inferiority, 
bewilderment, and utter inadequacy to 
meet the problems of modern life. He 
goes about under a protective coating 
of mock dignity and courage, as we all 
do, more or less." 

The sadness of humorists is proverb- 
ial, and Charles Butterworth is no ex- 
ception. 

"I ought to be happy," he said, "yet 
I am not. Like other men I have my 
high and low moments, but in general 
I am as blue as indigo, whether I show 
it or not. 

"I often wonder why. I have every- 
thing a sensible man can wish for. Per- 
haps because I am too sensitive. And 
I can't get excited over things others in 
the profession are so concerned about. 
I don't get a terrific kick out of my act- 
ing. To be perfectly frank, I don't 
mind admitting that I don't care if I 
ever act again. 

"I guess acting is too easy for me. 
I am happier when I have something 
difficult to do, even if it is writing 
twelve letters at one sitting. I have 
been working on a play, and have a 
number of articles under way which I 
hope to sell. But I doubt if they will 
ever be fit for publication. This Cali- 
fornia sunshine has got me. It has 
made me the laziest man on earth. I 
can't bring myself to expend the neces- 
sary time and energy required for my 
writings. 

"And yet, once a journalist, always a 
journalist. I still feel like a reporter, 
and frequently find myself jotting down 
notes on things that other actors tell 
me on the set. I can't help but look 
upon my former literary ambitions with 
feelings of regret. I really seem to 
have lost something precious with 
them." 

Such, in brief, is the interesting career 
of this melancholy clown, a fugitive 
wraith of a once lawyer-journalist 
caught in the mad whirligig of movie- 
town. 



50 



The New Movie Magazine, March, 1935 




"Wotta woild, wotta 

woild!" croaks Signor 

Durante. "Here we are 

all dressed up — 



No PI 



ace to Co 



lasts three seconds 
may take three 



A SCENE that 
on the screen 
hours to shoot. Between takes 
the stars wait, wait, wait. It nearly 
drives them crazy. Here's how they all 
manage to kill time. 

Women stars have a better time of it 
than the men. Joan Blondell knits and 
sews for the baby. Madge Evans knits. 
Mary Carlisle makes quilts, Sylvia Sid- 
ney crochets. Fay Wray, Doris Kenyon 
and Bebe Daniels do needle-point or 
petit-point. Bebe. in fact, has a hair- 
dresser who can do petit-point, too, and 
can carry on her piece of work while 
she does a scene. Gloria Stuart's fans 
send her old neckties, which she works 
into quilts. If you're missing any neck- 
ties around your house lately, someone 
is probably sending them to Gloria. 

Franchot Tone sits by himself and 
closes his eyes. So do Clive Brook and 
Conrad Nagel. Jean Muir asks ques- 
tions of the technicians. Spencer Tracy 
broods and mumbles his lines. Jimmy 
Cagney takes notes for a book he means 
to write some day. Adrienne Ames does 
fashion sketches. Lyle Talbot reads. 

Janet Gaynor and James Dunn play 
rummy. ZaSu Pitts plays any kind of 
cards. Claudette Colbert sips milk. Paul 
Lukas is an ice-water guzzler. Edna 
May Oliver drinks it not only iced but 
distilled. 

Dick Powell 
and Big Crosby 
sing at the top 
of their lungs. 
They just love 
to sing — and, as 
you can imagine, 
they always draw 
a crowd. 

Lionel Barry- 
more and Lew 
Ayres play pi- 
anos. Alice Faye 
does dance rou- 
tines. Richard 
Dix has a three- 
piece orchestra 
of his own which 
plays for him. 

Alison Skip- 
worth sleeps. 
Miriam Hopkins 
sleeps in her 
portable dress- 
ing-room. Kay 
Francis ditto. 
Margaret Sulla- 
van also prefers 




pictures with lots of beds and couches 
in them. Gary Cooper can sleep stand- 
ing up. David Manners sleeps so soundly 
they frequently use him to focus the 
cameras on. 

Leslie Howard sits outside in the sun, 
fondling a good-luck charm. Jimmy 
Durante argues with anybody who'll lis- 
ten. Also Dick Arlen. Roger Pryor 
walks round and round, like a caged 
lion. Warner Baxter not only walks 
but drinks soda-pop continually while 
walking. Ralph Morgan hides under old 
boxes and takes snapshots. This habit 
of Mr. Morgan's, it may be added, is 
very disconcerting. Sometimes, you 
know, two stars fall in love, and like all 
lovers seek a lonely spot in which to 
stare into each other's eyes. This is a 
very bad time to have Mr. Morgan pop 
out of a man-hole, or from behind a 
tree, and say with a cheery smile, "Hold 
it, please!" 

Victor McLaglen just sits and wor- 
ries. The other stars just do all these 
things to keep from worrying, he says. 
Well — he'll sit and worry. 

You may think you'd like a job where 
you were forced to take an hour's rest 
for every five minutes' work that you 
did. You wouldn't! Kids think they'd 
love to work in a candy store — but after 
a week of it you can't look an innocent 
chocolate cream in the face. It's the 
same thing. There's no worse strain on 
the nerves imaginable than just sitting 
and waiting, and alternating that with 
waiting and sitting. 

Sizing them all up. it looks as though 
Gary Cooper's method is really the 
smartest, so far as saving wear and tear 
on the nerves is concerned. There are 
some meanies who wonder if he ever 
wakes up for his scenes at all. Just 
before he dozes off he puts an intelli- 
gent, interested expression on his face, 
and it stays there. People can come up 
to him and talk to him for ten minutes 
at a time without ever catching on to 
the fact that he's slumbering in his own 
private beddy-bye. 

And Sterling Halloway, the lad with 
the moth-eaten coiffure, simplifies it still 
further. McLaglen may sit and worry, 
but Sterling just sits. ''Ah'm the laziest 
man-n in Hollywood," he drawls. "Ah 
cum up heah f'm Gawgia foh a va-ca- 
tion. An' what happens? These heah 
producers, they jest all get together an' 
make me wuk. No, Ah don' wear no 
make-up. Ah, don't do nuthin'. Ah jes 
sit an' sit." The prize goes to Gawgia! 



V^CaA^ 



ON THE SETS IT'S WAIT, WAIT, WAIT 

The New Movie Magazine, March, 1935 





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seasoning in cooking. It's a secret 
Women everywhere are discovering. That 
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NEW BOOK OF COOKING SECRETS. It's 108 
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HEINZ 



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IMS LARGSST 5 t 1 1 I N O KSTCHOP IN THE WORLD 



51 



Greasy pots 
scorched pans 

BUT THAT'S 



NOT ALL 




•VERY day women are 
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we wonder if there's any limit. 

How many have you tried? 

Here are a few suggestions. And, if 
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more— like shining the golf sticks and 
de-rusting the tools. 



S.O.S. SHINES 

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STAINED LINOLEUM 

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CRUSTED BAKING GLASS 

BURNED POTS 

BLACKENED PANS 

in double-quick time 



Really, if you haven't discovered this 
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Pads 



FREE 

NAME 

ADDRESS 

52 



Mail this coupon o; a post-card to 
The S.O.S. Company, 6204 W. 65th 
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package of S.O.S. You'll like it! 



AFriendlTreasure 

{Continued on page 27) 

touchy on the subject of his Knighting. 
Only once, when Sandra and I were 
dining with him in the new home he re- 
cently purchased at Malibu Lake, did he 
refer to an injury in service which ne- 
cessitated his transfer to the Intelli- 
gence Department. Naturally we wanted 
to hear more about that, but he replied, 
"Dashed secret. Branch of the service 
no man talks much about. Most inter- 
esting two years of my life, I think. 
Maybe some time . . ." 

Speaking of that house at Malibu 
Lake, he is quite crazy about it in spite 
of the fact that it is so located that he 
has to drive about fifty miles to and 
from the studios, to his weekly hangout, 
the prize-fights, or that his friends have 
to drive fifty miles to see him. He 
jokingly insists that old Mac, the studio 
gateman, is the only friend he cares to 
see, anyway, and as long as the drive 
isn't too difficult for Mac, it is all right 
with Sir Guy. 

He spotted the little white house 
when we were making "The Lancer" 
and he couldn't be satisfied until he 
owned it. It is filled with trophies that 
would warm the heart of any adven- 
turer, and both Sandra and I are de- 
lighted when we are invited to spend 
an evening with him before the roaring 
fire. Usually there are just the three 
of us present, for Sir Guy glories in his 
present bachelor existence. And it isn't 
that he is not attractive to the ladies, 
either. I overheard one pretty and 
popular star say: "That man is simply 
fascinating. I wonder what he was like 
at twenty?" The gossip about the 
studio is that practically all his mail is 
from women — a fact which I much pre- 
fer writing here than actually saying to 
him face to face. It would amuse him 
too much. 

There is only one thing about my 
association with Guy I could gladly 
skip — and that is the little matter of 
the .22 Hornet rifle. I'd like to make 
this as brief as possible (I don't know 
why I do him the satisfaction of telling 
it), but, anyway, I told Guy I had 
sent away to New York for this trea- 
sure, and also that I had sent along a 
check for $375 of my hard-earned du- 
cats to pay for it. The next time 
Sandra and I dined with him. Sir Guy 
produced an exact duplicate of my 
heartthrob, telescopic sight and all, and 
informed us he had "picked it up" on a 
little shopping expedition right here in 
Los Angeles for only $75 of his hard- 
earned ducats. Did I ever hear the end 
of that from Sandra . . .? I did not! 

I suppose I shall eventually forgive 
him. He is too grand a friend and too 
inspiring a person to be banned from 
my life — even over that treasured .22 
Hornet. The last time I saw him, we 
walked down to the edge of the lake 
and stood looking at the distant moun- 
tains. Sir Guy was in a rare mood. He 
had some advice for me . . . and when I 
get this off my chest I think you'll know 
as much about him and like him as well 
as I do. He said: 

"Live your life to the fullest . . . 
don't get in any sort of rut . . . and be 
proud you lived as hard as you could 
. . . dash it! . . . that's what life's for!" 



Are You Clever 
With a Needle 



Do you like to read Herb Howe's 
humorous comments on Hollywood 
foibles? Herb has an extra fine 
article in next month's NEW 
MOVIE. Watch for it. 




Modern Table Linen 
Must Be Beautiful. 
Here Are Six Smart 
Diagram Patterns 



Beautiful tables make food seem more 
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directions for 1 5c. Get started right 
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A Peasant Table Cover. Designs and 
diagrams for making cross-stitch de- 
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Smart Crochet Designs. For bridge or 
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Coarse Linen Doilies. Made gay and 
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Inexpensive Cloths. Plain material 
trimmed in gingham with gingham 
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New Crochet Edgings. New edgings 
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Six Applique Designs. Made from 
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Send your request to Miss Frances Cowles 

TOWER MAGAZINES, Inc. 

55 Fifth Avenue New York, N. Y. 



ENGLAND'S 
DeMILLE 

By GEORGE LANDY 

T-JOLLYWOOD folk who know him 
*■ -*- say that Herbert Wilcox, producer 
of "Nell Gwyn," is more like C. B. 
DeMille than anybody else in the whole 
film world. He has a tremendous flair 
for showmanship, a great capacity for 
driving his subordinates and making 
them love it, a genius in discovering and 
building up stars, which is uncannily 
like that of "C. B." in his palmiest days. 
But, unlike DeMille, he's had several 
ups and downs, although he's never 
been beaten. 

Like DeMille, Wilcox's career is 
studded with controversy-stirring films. 
In earliest days — shortly after his dis- 
charge from the Royal Air Force at the 
close of hostilities — he wrote, produced 
and directed "The Wonderful Story," a 
pastoral tale with only three characters, 
featuring Herbert Langley, a Covent 
Garden Opera star, the first singer to 
appear in pictures, even though they 
were still silent. 

Another Wilcox production which 
stirred up the British Empire and re- 
verberated throughout the world was 
"Dawn," starring Sybil Thorndike as 
Nurse Cavell, England's greatest war 
heroine. Germany sent official protests 
to the British Government; the picture 
was the subject of long debates in Par- 
liament and aroused terrific controversy 




Herbert Wilcox 

— all of which helped at the box office. 

For Wilcox is not only a DeMille; 
he is also a Roxy (or a Sid Grauman, 
for Pacific Coast readers!), the result 
of his early experience as a salesman 
and exhibitor. He was the first British 
producer to show his pictures to roy- 
alty, to open them in London's Albert 
Hall (a combination of New York's 
Madison Square Garden and Carnegie 
Hall) and to employ searchlights, spe- 
cial police, closing of street traffic and 
all other doodads to which we have 
become accustomed at New York or 
Hollywood "world premieres." 

Like the Horatio Alger heroes our 
fathers used to revere, Herbert Wilcox 
is the personification of "pluck and 
luck." He has known the champagne 
of success and the dregs of disaster; 
and this time, he is so fortified. through 
hard experience that he will probably 
stay on the top. 



The New Movie Magazine, March, 1935 



Women Rule Hollywood 



{Continued from page 19) 



their exaggerations, no matter how ri- 
diculous, there is always that sincere 
emotionalism that women love. 

Chaplin's greatest comedy, "The Kid," 
is the perfect example of comedy 
"slanted" for women. The situations 
were amusing, but always they were ac- 
tuated by sincere emotion. Every laugh 
Moated on an unshed tear. I would list 
"The Kid" as one of the ten greatest 
women's pictures of all time. 

What are the other nine? 

There have been so many exceedingly 
fine pictures, rich in feminine appeal, 
that it is hard to make a choice. At 
first thought, I should list "Birth of a 
Nation," "Broken Blossoms," "The 
Miracle Man," "All Quiet on the West- 
ern Front," "Dark Angel," "Stella Dal- 
las," "Robin Hood," "The Ten Com- 
mandments" and "Smilin' Through." 

"All Quiet," the most gruesome por- 
trayal of war ever screened, may at first 
glance seem an amazing choice — yet, if 
you analyze the picture, the reasons for 
its tremendous woman appeal are ap- 
parent. Through the eyes of its hero, a 
dreamer and an emotionalist, war was 
seen from the woman's viewpoint. And 
the scenes between the boy and his 
mother, alone, were enough to make 
"All Quiet" appeal to the average 



woman. Women, strange as it may 
seem, like to cry as well, if not better, 
than they like to laugh. 

"The Miracle Man" and "The Ten 
Commandments" appealed to the deep 
religious emotionalism which is in al- 
most every woman. "Robin Hood" was 
romance carried to the wth degree. 
"Stella Dallas" was an immortal drama 
of mother love. "Broken Blossoms." 
"Dark Angel" and "Smilin' Through" 
were among the greatest love stories 
ever told. 

If entirely dependent upon the pat- 
ronage of men, how many of the ten 
would have been stand-outs? I would 
feel confident of only three — "All Quiet 
on the Western Front," "The Kid" and 
"Robin Hood." 

In still another way, women have 
made their rule felt in Hollywood — 
painfully felt at times, yet in the long 
run the pain is for Hollywood's own 
good. I refer to censorship. They have 
been its most active proponents. 

There is no denying the fact that 
women rule Hollywood — or that they 
will continue to rule as long as they 
select the screen entertainment for their 
families, as long as they continue to be 
the great majority in every theater 
audience. 



Stars of Yesterday 



{Continued from page 23) 



Neal Hart, Elizabeth Henry. Charles 
Herzinger, Al Heuston, Mrs. Hicks, Jack 
Hoxie, Gladys Huelette, Frank Ibertson, 
Lloyd Ingram, Mary Jane Irving, Glad- 
den James, Pat Kelley, Mame Kelso, 
Ardell Kerr, Bob Kerr, Ed Kimball, 
Emmett King, Fred Kley, Alice Lake, 
Dick LaReno, Florence Lawrence, 
George LaGuere, Ed Le Saint, Edgar 
Lewis, Eva Lewis, Mason Litson, J. 
P. Lockney, Harry Lorraine, Viola 
Lonie, Muriel MacCormack. Francis 
MacHenry, Mary MacLaren, Jerry 
Mandy, James Mason, Doris May, Philo 
McCullough. Francis McDonald, Wal- 
lace McDonald, Dorcas McKim, George 
Meadows, Tony Midgley, Joe Mills, 
Howard Mitchell, Ralph Mitchell, Rhea 
Mitchell, Baby Peggy Montgomery, 
George Morrell, Lew Morrison, Eddie 
Mortimer, Harry Meyers, Iris Nichol- 
son, Lillian Nicholson, Gertrude Nor- 
man, Harry Northrup, Katherine O'Con- 
nell. Frank O'Connor, Maude Oggle, Tip 
O'Neil, Henry Otto, Patricia Palmer, 
Paul Panzer, Vesta Pegg, George Perio- 
lat. Hal Pickson, Snub Pollard, Russ 
Powell, Herbert Prior, Mrs. Albert Pris- 
coe, Rae Randall, Bobby Ray, Frankie 
Raymond, Mike Ready, Heidiviga 
Reicher, Clark Reynolds, Tom Ricketts, 
Spike Robinson, Joe Ryan, Lou Salter. 
Chas. Schaefer, Allan Sears, Bernard 
Seigel, Evelyn Selbie, Clarissa Selwyn, 
C. L. Smallwood, Antrim Short. Ger- 
trude Short, Leivis Short, Lee Shum- 
way, Mr. and Mrs. Simons, Allen Simp- 
son, Noll Smith, Emily Spencer, Martin 
Sperzel, John Stanton, Lincoln Stead- 
man, Myrtle Steadman, Lew Stern and 
Harry Tenbrook, Eva Thatcher, Daisy 
May Thelby, Charles Thurston, May 
Trolell, Florence Turner. Alberta 
Vaughn, Moxie Wolcarys, Ben Walker. 
Si Wilcox, William Williamson, Jack 
Wise, Freeman Wood, Wm. Worthing- 
ton and Clara Kimball Young. 

What a list of famous pioneers of the 
screen ! 

Miss Young, once the star of the 
Vitagraph Company. 



Harry Meyers of Universal. The 
glorious Steadmans. Lincoln and his 
mother, Myrtle, once fixtures with First 
National and before that with Bosworth. 
Bessie Eyton of the old Selig Films. 
Ella Hall, star at Lubin, now asking 
for "bits." 

Florence Lawrence with the old Bio- 
graph that gave us so many famous 
people. 

Gladys Huelette a star at Edison. 

Flora Finch a Vitagraph fixture. How- 
ard Mitchell with Lubin, Joseph De- 
Grasse swaggering through two-gun pic- 
tures at Pathe Freres. Charles French 
doing the same at the same lot. Flor- 
ence Turner charming them all at Vita- 
graph. 

They are a grand crowd of "troupers." 
They deserve the help of the in- 
dustry. 

But . . . what action the Assistant 
Directors will get is a problem. Their 
request in behalf of these glorious peo- 
ple was received by the Academy Board. 
But at that time the NRA Code was in 
the making. And _ there was such a 
flurry, such a concentrated drive on the 
part of the successful people of today 
to safeguard the tremendous salaries of 
those who are now sitting on top, that 
the request of the Assistant Directors 
in behalf of the old-timers was shunted 
to the background. May they drag it 
out into the open now and give these 
courageous people a chance to earn a 
living. 

They are a magnificent group. If 
you see the names of any of your own 
former favorites in the list, wouldn't it 
be a nice thing for you to send them a 
letter, or write to a producing company 
asking that the old-timer be given a 
chance. It would be a grand gesture 
on your part. It would be appreciated 
by every one of them, for they only 
want the chance to preserve their self- 
respect. 

It is jobs that these people want — 
not alms. They are the sort that con- 
tinue to struggle bravely on. 




NEED 



A BLONDE FADE EARLY? 



y * = J^caJUi (ZitAtA 



People say that blondes have a brilliant 
morning, but a short afternoon. In other 
words, that blondes fade early! 

This, however, is a myth. Many 
blondes simply look older than their 
years because they use the wrong shade 
of face powder. 

You should never choose a face pow- 
der shade just because you are a blonde 
or brunette. You should never try to 
match the color of your hair or the par- 
ticular tone of your skin. A blonde may 
have a dark skin while a brunette may 
have quite a light skin and vice versa. 

A face powder shade should be cho- 
sen, not to match your hair or coloring, 
but to flatter your whole appearance. 

To Find the Shade 
that Flatters 

There is only one way to find the shade 
of face powder that is most becoming 
to you, and that is to try all five basic 
shades. 

Lady Esther Face Powder is made 
in the required five basic shades. One of 
these shades you will find to be the 
most flattering to you! One will \ 
instantly set you forth at your best, : 
emphasize your every good point 
and make you look your most 
youthful and freshest. 

But I don't ask you to accept 



my word for this. I say: Prove it at my 
expense. So I offer to send you, en- 
tirely without cost or obligation, a liberal 
supply of all five shades of Lady Esther 
Face Powder. 

When you get the five shades, try 
each one before your mirror. Don't try to 
pick your shade in advance. Try all five! 
Just the one you would least suspect 
may prove the most flattering for you. 
Thousands of women have written to tell 
me they have been amazed with this test. 

Stays on for Four Hours 
— and Stays Fresh ! 

When you make the shade test with 
Lady Esther Face Powder, note, too, how 
exquisitely soft and smooth it is. It is 
utterly free from anything like grit. It 
is also a clinging face powder! By actual 
test it will stay on for four hours and 
look fresh and lovely all the time. In 
every way, as you can see for yourself, 
Lady Esther Face Powder excels any- 
thing ever known in face powder. 

Write today! Just mail the coupon or 
a penny postcard. By return mail you'll 
receive all five shades of Lady Esther 
Face Powder. 

Copyrighted by Lady E9ther, 1935 



FREE 



(You can paste this on a penny postcard) (10) 
Lady Esther, 2020 Ridge Ave., Evanston, 111. 

Please send me by return mail a liberal supply of all fiv 
shades of Lady Esther Face Powder. 



City^ 



-Jilate- 



(If you live in Canada, write Lady Esther, Toronto, Ont. ) 



The New Movie Magazine, March, 1935 



53 




• Why let your hair get that harsh, 
faded, "worn-out" look? To have 
the true beauty everyone strives 
for in modern hair grooming, the 
Sheen of Youth" is more impera- 
tive than ever. For the popular hair 
dressing demands hair that is soft 
and smooth, with a color sleekness 
that is ample in tone value while 
also entirely natural and youthful. 

Put ColoRinse in the shampoo wash 
and it will put subtle color toning in- 
to your hair, and give it a soft, pliant 
lustrefulness. ColoRinse is harmless 
vegetable compound, not a dye or 
a bleach. Choose one of the ten 
shades — a variety of color values 
complimentary to all types of hair. 

Also ask for Nestle SuperSei, Nestle Golden 
Shampoo or Nestle Henna Shampoo 

THE NESTLE-LEMUR COMPANY 

MAKERS OF QUALITY PRODUCTS 
N EW YORK 




The Stars at Play 

(Continued from page 25) 

Grove by her fiance, Charles Irwin, 
according to the program planned. 

But all the same when a dozen peo- 
ple arrived in a group, and others kept 
on coming, she was actress enough to 
convince everybody she was genuinely 
surprised. 

Jack Oakie, who was girl-less for 
once, got rid of the romantic burden on 
his soul by retreating to the kitchen 
and reciting poetry to all who would 
listen. It was Eddie Buzzell's birthday, 
too, and he dispensed gallantries right 
and left, evidently as happy as a lark. 
The only untoward happening was when 
Kitty Kelly, playing with Helen's 
pooch, got bitten on her pretty nose. 
Gail Patrick was there and Robert 
Cobb, and Anita Louise. 

Tom Brown's father and mother were 
there, and Anita consoled herself by sit- 
ting on Tom's mama's lap a good part 
of the evening. Richard Sanville, back 
in New York, we hear, was disconsolate 
when Anita left. But though he was 
very attentive, Anita didn't forget Tom 
while she was East. 

V\7"E know where Jeanette MacDon- 
* v aid stands about her engagement 
to Robert Ritchie, her manager. 

Miss MacDonald confided to friends: 
"I shall probably not marry until I 
have ceased to be an actress. This is 
understood between Bob and me. He 
is very tolerant and understanding. He 
doesn't wish to either be freed from me, 
nor, under the circumstances, feeling as 
I do, to be married to me. We have 
many interwoven interests, and many 
things in common. I cannot imagine 
my life without Bob, and I think he 
feels the same way about me. But I 
do not think an actress, especially a 
motion picture actress, should be 
married. 

"I should hate to think I will never 
wed and have children. But when I do, 
I want to be sure to make a success of 
my marriage." 

■\zFAYBE it's just to put a muffler on 
*■**■ the gossips, but whatever reason 
it is, the fact remains that more and 
more guests are arriving at parties with- 
out escorts. The escort seems to be 
quite passe indeed. 

Solo arrivals at Anne Shirley's party 
included Eric Rhodes, Virginia Reed, 
John Beal, Tom Brown; while those at 
Henry Armetta's party included Henry 
Hull, Maria Gambarelli, June Clay- 
worth, and Pat di Cicco. 

DOOR little Mary Blackford, lying in 
*■ her hospital bed, all but paralyzed, 
has taken new hope. 

That benefit which her young friends, 
the juvenile set of Hollywood, gave for 
her at the Cocoanut Grove, resulted in 
the raising of many hundreds of dollars. 
Enough so that she can have that neces- 
sary operation which may restore to 
her the use of her limbs. 

And did those young people work! 
Not only that. When the evening came, 
and they found the demand for tickets 
to be more than would be issued with 
comfortable accommodation in the 
Grove, they sold their own tickets, and 
stood all evening! 

The standees included Tom Brown, 
Anita Louise, Pat Lucey. Donald 
Barry, Junior Durkin, Stanley Davis, 
Eddie Rubin, Helen Mack, Patricia 
Ellis, and Grace Durkin. 

Will Rogers never has been known to 
shirk his duty at a benefit. This writer 
has called him up in the afternoon to 
officiate at night, and he did it cheer- 
fully, and as everybody knows, more 
than adequately. 



Give that 

COLD 

Just 
24 Hours 



Colds Go Overnight When 
You Take the Right Thing 

A cold doesn't have to run its course and expose 
you to serious complications. 

A cold can be routed overnight if you go 
about it the right way. First, of all, a cold being 
an internal infection, calls for internal treat- 
ment. Secondly, a cold calls for a COLD remedy 
and not for a "cure-all". 

Grove's Laxative Bromo Quinine is what a 
cold requires. It is expressly a cold remedy. It is 
internal and direct — and it does the four things 
necessary. 

Fourfold in Effect 

It opens the bowels. It combats the cold germs 
in the system and reduces the fever. It relieves 
the headache and grippy feeling. It tones 
and fortifies the entire system. Anything 
less than that is taking chances with a cold. 

Get Grove's Laxative 
Bromo Quinine at any 
druggist's. 



A cold is an 
Internal Infection 

and Requires 
Internal Treatment 




GROVE'S LAXATIVE 

BROMO 
QUININE 



Listen to Pat Kennedy and Art Kassel and 
his Kassels ~ in - the - Air Orchestra every 
Sunday, Monday, Tuesday, Thursday 
and Friday, 1:45 p. m. Eastern Standard 
Time, Columbia Coast- to-Coast Network. 



The committee of the Blackford 
benefit hadn't had courage to ask him 
to be master of ceremonies. They 
merely asked him to lend his pres- 
ence. 

"What good would my inert presence 
do?" he demanded. 

And then they took heart and asked 
him to serve. Which he did with his 
usual brilliant success. 

CALLY EILERS is such a good 
^ mama that she won't have a party 
which her baby, nicknamed Pooch, can- 
not attend. 

So on Sunday afternoons she and her 
husband, Harry Joe Brown, hold a sort 
of open house at their apartment, where 
a private showing of the infant is al- 
ways held. 

Pooch's first venture into the great 
open spaces was last Thanksgiving, 
when he went to see Grandma Eilers, 
Sally's mama. Since then he has ven- 
tured out at Christmas and other fes- 
tive days. 

Always present at the Sunday after- 
noons are several other mamas, 
notably Bebe Daniels and Mrs. Skeets 
Gallagher. 

DY the time this is printed, it is al- 
*-* together possible that Dick Powell 
and Mary Brian may be married. 

Dick has been building a house and 
Mary has been spending a great deal of 
time superintending some of the details. 
And now that the non-marriage clause 
in Dick's Warner contract has expired, 
there seems no reason why they should 
not go ahead and do it. 

V'17'ON'T you come to our house 

* ' warming-over?" is the way that 
jolly Agnes Christine Johnston and hus- 
band Frank Dazey, invited us to their 
home following their long absence in 
the .East. 

And what a honey of a place it is — 
an old English house, with many cosy 
dormer window retreats, and a complete 
air of charming hospitality everywhere. 

The place simply buzzed with writers 
and stars. 

Claire Adams has come out of ob- 
scurity, and, looking lovelier even than 
when she was a Ben Hampton star, 
goes about to parties a lot. She is 
studying singing and has developed a 
voice, and sang at the party. She has 
radio plans. 

June Collyer and Stu Erwin were 
there. They say their son may be- 
come a traveling man. At any rate, he 
hollers every morning, wanting to know 
whether they aren't going on the chu- 
chu today! He was with them on their 
eastern personal appearance trip. 

UOWARD HUGHES brought Nancy 
Carroll to the Cocoanut Grove 
one night not long ago. 

And was he surrounded with mem- 
ories! At a nearby table was Joan 
Chapman, to whom he has been paying 
quite a lot of attention; at another 
table was Jean Harlow, and not far 
away was Betty Furness, both of whom 
he has been seeing a lot lately. 

LJOLLYWOOD is fairly outdoing it- 
■ - 1 self in establishing all sorts of odd 
bars. 

Guests at Bert Kalmar's country 
home in San Fernando Valley were 
surprised the other night when Bert 
revealed the oddest bar of all. 

Everybody went into the library. 
We expected a lot of books not only 
because it was a library, but because it 
was Bert's library, and Bert is a great 
reader. Suddenly the bookcases with 
their burdens turned inside out, and the 
highbrow had suddenly gone lowbrow, 
for behold the bookcases had turned 
into a bar. 



54 



The New Movie Magazine, March, 19S5 



The Stars at Play 



LOOKS as though we'll have to estab- 
4 lish a society column for the kids 
of Hollywood. 

At least two important parties took 
place recently. 

Dolores Lee Printz, daughter of 
LeRoy Printz, was tiny hostess at one 
party, the guests including David Holt, 
Virginia Weidler, Baby LeRoy, Lois 
Kent and Billy Lee. Micky Mouse en- 
tertained in person. 

Mrs. Joseph Cawthorne gave a party 
for her little granddaughter, Peggy 
Kernell, and several children of famous 
folk were there, including Ottilie Kru- 
ger, Otto Kruger's daughter; John 
Barrymore's child, Dolores Ethel; 
Peggy Santley, Joe Santley's child, and 
others. It was a costume party and the 
guests came suitably dressed. 

DOTH Spencer Tracy and Loretta 
*-* Young were present at the party 
which Mr. and Mrs. Harry Lachman 
gave. But not together. Loretta came 
with a party, and Spencer arrived alone. 
They greeted each other, but there was 
no conversation. 

Maurice Chevalier, contrary to his 
custom, arrived alone, but was gallantly 
paying attention to all the ladies in 
succession. 

HP HE most brilliant of all the Screen 
■*• Actors' Guild balls held annually 
during the past three years was the 
latest one. The Biltmore Bowl was 
beautiful, with its tiers of tables, each 
be-flowered and be-candled, and some 
thousand guests were present. 

Cocktails and hors d'oeuvres were 
served in the long lounge just outside 
the Bowl. Kenneth Thomson as presi- 
dent opened proceedings, and Lyle Tal- 
bot was m.c. Dancing and entertain- 
ment were enjoyed — followed by the 
grand march. 

Jimmy Cagney started a lot of fun 
by cutting in on Robert Montgomery 
and Chester Morris, each time he 
glimpsed one of them dancing with his 
own wife. Every time that happened 
Jimmy would hop out on the floor and 
gleefully take the lady away from her 
husband. 

Chester got even. Cagney and his 
wife dance beautifully together and 
enjoy it very much; but Chester gave 
them no chance, during the first few 
dances, after Jimmy's coup. He would 
cut in, each time, and grab Jimmy's 
lady away from him. 

Franchot Tone and Joan Crawford 
danced together all the evening, and 
when the orchestra played the strain 
from a popular song, Joan and Franchot 
sang it into each other's ears. 

But even there Jimmy Cagney man- 
aged to cut in, for he found himself the 
man nearest Joan when the grand 
march strains turned themselves into a 
fox trot, and when, according to the 
rules of the Guild floor committee, the 
man and woman finding themselves 
nearest each other must dance to- 
gether. 

Joan confided to friends that Jimmy 
is her favorite actor. I don't know 
what Franchot means to do about 
that! 

HP HERE is nothing like the friend- 
ship of men, say some of the sages, 
and the friendship of Warner Baxter 
and his three pals, Bill Powell, Ronald 
Colman and Dick Barthelmess seems to 
prove it. They have been friends for 
years, and even now they foregather 
here and there every so often to hobnob 
together. 

Usually they meet on Sunday after- 
noons on Warner's sunny tennis court 



to play tennis, and then afterward to 
sup with Warner and his wife, with 
Mrs. Barthelmess frequently joining 
them. Jean Harlow is there once in a 
while, too. She wields quite a wicked 
racquet, you know. 

Gloria Swanson and Herbert Mar- 
shall came over the other evening for 
supper and a visit. 

JTDNA MURPHY, who went abroad 
several months ago, is back in 
Hollywood, looking prettier than ever. 
She has been visiting friends in Spain, 
and let us in on the fact that she was 
studying Spanish over there. One won- 
ders if there is a handsome caballero 
somewhere there with a "castle in 
Spain." She won't tell, in spite of all 
our efforts to find out. 

She is seen about with George Stone 
a good deal, but both declare it's merely 
an old friendship. 

/"\NE of the sights these days is 
^-' Charlie Chaplin and Paulette God- 
dard with the two Chaplin children, 
going places and doing things together. 

They gave, a little party for the boys 
not long ago, inviting some of their 
school mates from the Black Foxe Mili- 
tary School to go out on the Chaplin 
boat with them. 

And they took the youngsters up to 
Lake Arrowhead, where they taught 
young Charlie and Sidney how to do a 
little plain and fancy fishing. 

HpHERE was just a touch of the pro- 
■■■ fessional to the party which some 
friends of Joe Morrison gave him on his 
birthday. 

Harry Revel and Max Gordon, who 
wrote the songs for his next musical, 
were on hand, and played them for him. 
Then Joe sang some songs from one of 
his pictures, "One Hour Late," and Sam 
Coslow played and warbled one of his 
compositions, "Little White Gardenia." 

t-JE is by way of being a country 
-*■ -* squire, these days, is Edward 
Everett Horton, what with his big En- 
cino estate. 

He entertained Frank Lawton and 
Evelyn Laye at an English dinner, 
Yorkshire puddings and all. Ramon 
Novarro was there, too, but not a single 
tamale showed up on the menu. 

DATRICIA WHEELER seems to in- 

herit her dad's quick wit. 

Down at Palm Springs the other day 
the seven-year-old was playing with an- 
other little girl. Suddenly the girl 
looked at Pat and laughed. 

"What you laughing at?" demanded 
Patricia. 

"Oh, at you," responded the child, 
"you look so funny with all those 
freckles!" 

"Well." cracked Patricia, "you look 
funny even without any freckles!" 

DOD LA ROCQUE and Vilma Banky 
■*■ going about socially in Hollywood; 
everybody buying homes at Palm 
Springs, where they spend week-ends: 
Bob Woolsey, Louise Fazenda, Rosie 
Dolly, Samuel Goldwyn, Ann Harding, 
Jeanette MacDonald; tennis players 
gathering every Sunday afternoon at 
Dolores Del Rio's Santa Monica Can- 
yon home for tennis, including Gary 
Cooper and Sandra Shaw, King Vidor. 
Norma Shearer; cocktail frocks aren't 
called cocktail frocks any more, they 
are now called bar-room dresses; de- 
spite the fact that Fred Keating and 
Patricia Ellis deny any romance, they 
are seen about at all the parties and 
openings together. 



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"My selection of perfume is not 
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The New Movie Magazine, March, 1935 



55 




I110RE POLISH 

These days, women are entitled to a larger 
bottle of nail polish for their money, because 
they use so much more of it. Fashion says a 
different shade for day, a different shade for 
night — one shade to go with today's dress, 
another shade for tomorrow's. And toe nails 
are getting their share of polish, too. 

Moon Glow gives you what you deserve— a 
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two or three times the size you have been get- 
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One use of Moon Glow Nail Polish will 
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Moon Glow is a new and better blend of polish 
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Moon Glow Nail Polish is featured at 25 
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one of their fastest selling nail polishes. And 
at your ten cent store, ask for the generous size 
Moon Glow bottle. 

Write for sample 

Try either the clear or new cream Moon 
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screen stars in Hollywood — there's a treat in 
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I'll Quit Before 
I Fail 

{Continued from page 42) 

"My Lord, them's big words!" 

"But why do you feel as you do about 
your picture acting?" I asked. 

"I must believe in myself," she ex- 
plained, "and I simply can't do it when 
I see myself on the screen. I like the 
work and I like going to the movies, but 
I don't like myself in them. This isn't 
any modesty on my part, it's just sin- 
cere distaste. I'm not humble and I 
believe I'm not a fool. But there is 
something about screen acting that 
makes it impossible for me to be my- 
self. I can't understand it." 

"Is it that you're not allowed to do 
things in your own way?" 

"No, it that isn't it," she was quick 
to say. "It's nobody's fault but my 
own. I've been given every opportunity 
to be myself, but somehow I can't. I 
don't feel satisfied with myself on the 
screen any more." 

IT is true of all of us that complete 
satisfaction with our work means the 
end of progress and the beginning of 
stagnation. There is no stagnation, you 
may be sure, in Helen Hayes. She is 
not merely a lucky star content to fol- 
low her luck. Nor is she one of those 
pictorial exhibitionists who have nothing 
more than meets the eye. She has built 
her enduring renown upon fine intelli- 
gence, emotional vitality and a thorough 
equipment in the requirements of acting. 

"There are millions," I reminded her, 
"who will not agree with you in your 
screen estimate of yourself." 

She said nothing to that, but after a 
moment's silence looked up and went 
on: 

"Most of my stage career has been 
in comedy, and once you've mastered 
that the rest is child's play. Yes, I 
mean I'm essentially a comedienne. On 
the stage in 'What Every Woman 
Knows' I was a sharp actress, giving 
Maggie the edge that Barrie gave her. 
But when I saw myself at a screen pre- 
view playing the part I had played for 
sixty weeks on the stage I saw a soft 
actress with no bite. I couldn't stand 
looking at myself. Instead of the crisp, 
Scotch Maggie I once had been I was 
fuzzy and sentimental. Now, you 
should make an audience feel you are 
sentimental, but never let it see that 
you are. On the stage Maggie's brittle, 
incisive humor always won fond, happy 
laughter. But that movie audience 
didn't crack a smile. I was to blame, 
not the audience. So don't you see I'm 
right in feeling as I do about myself 
on the screen?" 

Frankly, I didn't. Far be it from me 
to be a prophet crying in the Hollywood 
wilderness, but I'll bet that audiences 
everywhere will delight in the screen 
Maggie of Helen Hayes. 

Whereupon Miss Hayes was minded 
to have her maid send downstairs for 
tea. Would I have some? Perhaps a 
highball? No? No, the natural alco- 
hol in her talk was quite enough for 
me, thank you. 

"I'm getting discouraged with my 
work on the screen," she resumed. "I'd 
really feel better to stay out of it. It's 
all just absolutely nil to me. The screen 
does something to me, takes something 
away from me, holds me back. Some- 
how I don't seem to come through. It's 
as though a mechanical barrier were 
raised against me, and I'm not strong 
enough to break through it. I just 
can't bear it any more." 

"But surely," I argued, "you can't 
feel this about all your work?" 

"I've never had the sense of success- 




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ful accomplishment in any of my pic- 
tures," declared Miss Hayes, "only that 
of frustration. There were moments in 
'Farewell to Arms' and 'Arrowsmith' 
when I liked the way I did things, but 
that was all. I've never felt the full, 
glorious sweep of complete accomplish- 
ment, never the satisfaction of knowing 
I'd carried off the whole thing victo- 
riously." 

Any other actress who had done even 
half what Helen Hayes has done in pic- 
tures would no doubt be so thoroughly 
satisfied with herself that there'd be no 
living with her (on the screen, of 
course) and it was this very fact that 
gave what she said far greater interest 
than usually is found in the contented 
utterances of film stars. 

"It's just a sense of not getting what 
I was aiming at," she thoughtfully con- 
sidered, "not hitting it. I've been able, 
as I've said, to like myself in brief, 
fleeting moments, just flashes, but noth- 
ing more. And it's a terrible way to go 
through life — always feeling unhappy." 

A FTER all, what do movie stars, I 
■l* wonder, get out of life? Money, yes. 
But there seems to be even more worry. 
If it isn't one thing it's another, a desper- 
ate clambering up the ladder of fame, 
then the fear of taking a header into 
oblivion. Not that Helen Hayes need 
bother her head as to where she stands 
nor her ability to stay there. Yet I 
knew that what she had just said about 
going through life unhappy came deep 
from her heart. But for the life of me 
I couldn't understand her saying it. 

"You really don't feel you've made 
your last picture?" 

•Well," she pondered, as a slice of 
lemon hung in the balance over her 
teacup, "I'm not sure I haven't." 

"And that, after your tour, nothing 
can bring you back to Hollywood?" 

"If anything can, and anything does," 
she granted with a smile, "it will be the 
elegant way of living I've got myself 
into here. You know, when I first came 
out I was quite simple in my tastes. 
Then, somehow, I found myself going in 
for a private chauffeur and a more or 
less private pool. I'll have to get along 
without these wild extravagances for a 
year, anyway. But shall I be able to 
change my expensive habits for life? 
And if I don't shall I have to act in 
pictures again? Heavens, you've got 
me asking myself questions!" 

For answer, Miss Hayes kicked off a 
slipper. But by no stretch of the imag- 
ination could this seem preliminary to 
kicking over the Hollywood applecart. 



Have you joined the 
People's Academy? 
You can do so by 
sending in your votes 
on the twelve outstand- 
ing motion picture, 
achievements of the 
year. Read "You Tell 
Us" on page 46 of this 
issue for full details re- 
garding the free trip 
which NEW MOVIE 
offers its readers. 



56 



The Neio Movie Magazine, March, 1935 



She Came to Hoot But Stayed to Toot 



By CARLISLE JONES 



A LINE MacMAHON, whose attitude 
x *• of world-wise resignation has been 
capitalized to good advantage in such 
screen plays as "Big Hearted Herbert,'' 
"While the Patient Slept," and "Bab- 
bitt," came to Hollywood to poke fun 
at the film capital from the stage in the 
leading feminine role of "Once in a 
Lifetime." 

She has remained, if we discount 
three hurried trips to New York, to 
prove to her own satisfaction, at least, 
that Hollywood is not as foolish as it 
was painted. 

Whatever dizzy pace Miss MacMahon 
has kept since that night more than 
three years ago when she first appeared 
before a Hollywood audience, in a play 
which made almost bitter fun of the 
vagaries of the hometown industry, has 
been largely her own fault. 

She insisted upon returning to New 
York each time a new role in pic- 
tures was not immediately forthcoming. 
After Mervyn LeRoy had persuaded 
Miss MacMahon to stay over in Holly- 
wood for her first picture, "Five-Star 
Final," in which she played the wise 
and weary secretary with pronounced 
success, she went at once to New York. 
Recalled for roles in "Heart of New 
York" and "The Mouthpiece," she 
caught the first train back to Broadway 
almost before the cameras were cool. 
But they persuaded her to come back 
again for other roles and with the screen 
version of "Once in a Lifetime" for 
Universal and "Silver Dollar," for 
Warner Brothers planned ahead, she 
took a house in Brentwood Heights 
and admitted franklv that she liked 



Hollywood and Hollywood's methods 
pretty well. 

"The truth is,'' she says now, "I've 
never seen any evidence that 'Once in a 
Lifetime,' was a fair impression of the 
industry. Every picture I have been in 
has started on schedule and finished on 
time. All the promises which were 
made to me have been kept — faithfully 
kept." 

This interesting young woman whose 
nationality is a grand mixture of Scotch- 
Irish-Russian-Jewish, says she got her 
first opportunity on the stage by pester- 
ing Edgar Selwyn, a family friend. She 
has played in musical comedy, repertoire 
and stock as well as in legitimate Broad- 
way productions but until her venture 
to Hollywood with the play that made 
fun of the place, she had never appeared 
on a stage anywhere outside of Greater 
New York. 

CHE has a glorious sense of humor. 
^ a way of "throwing her lines away" 
that endears her to all audiences and 
a determination not to become stereo- 
typed as a character actress fitted for 
only one particular kind of role. She 
is married to a New York architect — 
and expects to take a long vacation 
abroad with him soon. 

Actually she is a vibrant personality, 
not at all satiated either with Holly- 
wood or the world in general, who 
wears picture hats, who neither cooks, 
nor drives a car nor keeps a pet, and 
who is frankly sorry if she once hurt 
Hollywood's feelings. 

She came to hoot, she says, but she 
has :tayed on to toot ! 




DIET PROBLEMS 
of THE STARS 

Conducted by 
DR. HENRY KATZ 



(~^ ENERAL moderation, rather than 
^-* the avoidance of any one particu- 
larity of food, is the best way to keep 
the weight in check, but once having 
gained excessive pounds, it is often best 
to cut out high-calorie foods. 

"I have always been conscious of my 
size, writes one of our readers, "by 
that I mean both my height and weight. 
Of course, nothing can be done about 
my height, but I would like advice 
about my weight. I am five feet six and 
a half inches tall, head 22j/ 2 inches, 
neck 133/2, bust 36, upper arm 10, 
lower arm 9 1 /-, waist 2&y 2 , hips 36, 
thigh 22}/, calf 13^, ankle 9. I have 
quite large bones. However, I know 
I would be much more attractive if 1 
were slimmer. I believe I weigh 141 



pounds. I want to weigh much less. 

"I wish you would send some infor- 
mation telling my mother how she may 
lose weight, too. She is about five feet, 
seven inches tall and weighs about 190 
pounds. She refuses to eat many of 
her meals because of her fear of gain- 
ing more pounds. I know that this is 
not good for her at all. She and I both 
have quite a bit of excess fat around 
our ribs and under our breasts." 

You cannot reduce fat in one part of 
the body without reducing all over. For 
a young lady of your general measure- 
ments, your weight corresponds with 
the ideal weight. 

You could reduce some by cutting 
down on butter and cream and by going 
without sugar in your coffee. You 
might reduce to 130 pounds without 
injury, but it does not seem necessary. 

Your mother can reduce considerably 
and should do so, by avoiding all starchy 
foods, at least until she gets down to 
about 150 pounds. Then she should 
eat to maintain that weight. She 
should cut out butter, cream and sugar 
and all starchy foods. If she eats vege- 
tables such as cauliflower, cabbage and 
spinach, her appetite will be satisfied. 



This new department in New Movik 
Magazine is conducted by Dr. Henry 
Ivatz, experienced general practitioner 
and member of the staff of Fordham 
Pediatric Clinic. New York. If you 
would like expert advice about any 
■questions of food or diet, send them 
to Mary Marshall, 55 Fifth Avenue, 
New York, N. Y. Dr. Katz will per- 
sonally direct the answer to your 
problem unless it is one that calls for 
advice of your family physician. Ques- 
tions and answers of special interes'i 
will be published — with senders' names 
omitted — in this department, except 
where special request is made not to 
have the answer used in this way. 
Letters should enclose s'amp, or 
stamped, addressed envelope for reply. 




- j^mT" ->*** „ came «*> n *' Pm getting - 

scratch »P ^_^ \ 



M Ekfl^k- J*M u r Ponder— 

J* |52^L ^H^ hn son*V (,b - smooth 

^^\h before * u PP thpr place? * u haV e the 
and sl ick ° ^ 




, r _theHmdt^ e 

> s B«by P ° l " n f Italic * ol ?,7 keS atin. 

bet ^ ^tf P« rticleS root..'* " 1 cream, *°° l 
No *" 'rate or *""'** flTl d Baby Cr j*^ 

Johnson 0- 



Thc New Movie Magazine, March, 1935 



57 





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A NEW SERVICE FOR YOU 

TOWER STAR FASHIONS 

Bringing the glamour of Hollywood styles within 
the reach of readers of Tower Magazines 




Evelyn Venable 
Paramount 



STARS light the way of modern 
fashions, and Hollywood rivals 
Paris as the source of inspiration 
in dress and beauty. The up-to-date 
American woman finds greater help 
in dress from the pictures of Norma 
Shearer, Joan Crawford and other 
^_ _^__ outstanding motion 

S^ picture stars and 

Wlmr^ li featured players 

than she does from 
the latest creations 
of Mainbocher, 
Schiaparelli and 
other important 
Paris dressmakers. 
In fact, a new film 
from Hollywood, 
showing lovely 
clothes convincingly 
worn, may do more 
to shape coming fashions than all 
the spring "openings" and "collec- 
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How to present these modern Holly- 
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would be of the greatest help to the 
individual American woman? 

That was the 
question. 

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answer. 

This new fashion 
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dresses, wraps, hats 
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various types of 
American women — types found in 
your home town and ours, just as 
much as in the motion picture studios 
of Hollywood. These new styles will 
be pictured in the pages of forthcom- 
ing issues of this magazine, and to 
make them yours, in fact, as well as 
in imagination, these same Tower 
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Marian Marsh 
Columbia 



Adrienne Ames 
Paramount 



less other alert American women. It 
will be of greater value to you than 
the usual sort of "Thou Shalt Wear" 
and "Thou Shalt Not Wear" fashion 
feature because it is based on the im- 
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specialized fashions 
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the screen. 

Few women, we 
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out a slavish imita- 
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Dressing to type, rather than fol- 
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3 1 Alt of suitability to type. 

Tower Star Fashions 
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TOWER 



FASHIONS 



58 



The Neiv Movie Magazine, March, 1935 



Connolly the Courteous 



{Continued from page 21) 



Co-starring with Courteous Connolly 
in this new comedy by Sydney Howard 
is Ernest Truex. Another fine "trouper" 
who prefers footlights to sunlight. As 
I watched them rehearsing, I realized 
what a relief it must be to walk into a 
role and become part of it with only 
the soft-voiced suggestions of the 
author or director. No electricians yell- 
ing "Kill 'em!" or "Light 'em!" No 
sound technicians announcing "O.K." or 
"N.G." with the identical inflection, 
after you have given "your all" in a 
scene which may be the last one of the 
picture being shot on the first day of 
production or the first scene being made 
on the last day. It all depends on the 
schedule, and for five years now I've 
been marveling at actors playing death 
scenes in pictures before they had even 
started to live. In the theater you die 
six nights a week and two matinees. 
Each time there is a new audience for 
your last gasps. In pictures you just 
stay there dying and dying until the 
director, cameraman, sound technician, 
producer and several authors admit that 
you did a swell job of kicking off. 

Mind you, I'm not speaking from 
personal experience. The nearest I ever 
came to dying for the cinema was 
when I saw myself on the screen for the 
first time. I'm admitting after a long 
stubbornness, born of California fever 
which made me resent any one saying 
that they could miss anything while in 
my adopted state, that I quite under- 
stood why both Mr. Connolly and Mr. 
Truex looked so pleased with life at 
that rehearsal. What they missed in 
films I had quite forgotten about as a 
comparative spectator. 

Sitting in a ringside seat, watching 
the successes and failures of Hollywood, 
I have not missed an audience's ap- 
plause, probably because I have taken 
no risk of not receiving it. Still pre- 
ferring a good film to a play, I shall 
argue no longer when such artists as 
Helen Hayes, Maurice Chevalier, Wal- 
ter Huston, Ramon Novarro, Mr. Con- 
nolly and others leave the flickers flat 
for a dash into direct contact with an 
audience. More power to them! It's a 
great thing to have two irons in the 
fire, no matter how hot the blaze of 
approval appears to be. Mr. Connolly 
will return to Hollywood and films. He 
likes both, but meanwhile he is enjoying 
big city life, staying up late, sleeping 
late and meeting a lot of his old friends 
who do not eat, sleep, talk and think 
pictures. 

After rehearsal we went to his apart- 
ment, where Mrs. C. was hostessing a 
cocktail party. The place was packed 
with friends welcoming them home from 



exile. Ernest Truex and Kay Johnson 
were the only Hollywoodians that I saw, 
and they have both shaken the gold dust 
of California for the star dust of New 
York. It was a gay party, but what I 
miss most in New York is not being able 
to slip out quietly from a gaiety-charged 
room into the cool green of a patio. 

As we were on the ninth floor, I did 
no slipping. I mingled and snooped. 
Found out that Mr. Connolly was in 
that certain war, and a Marine at that. 
Mrs. Connolly is a well-known actress, 
Nedda Harrigan. Her most satisfactory 
performance so far took place nine 
years ago when she shared honors and 
billing with her husband in producing 
their little daughter Anne. Learned that 
"The Captain Hates the Sea," which 
through a series of bad breaks took 
months to film and had the heads of 
Columbia tearing out what hairs their 
big brains still function under, was a 
good break for Connolly. The Captain 
may hate the sea, but he loves it. We've 
got a date to stalk a swordfish off Cata- 
lina next Summer if they ever let him 
out of the studio, once they get him 
back. 

I've been admiring him in the theater 
for years, but was unaware that we 
shared a "Remember When" until he 
said, "That was a pretty good ball team 
you had back in 1912!" As I was fig- 
uring out that too much work is apt to 
tell on the mind, after all, he added, 
"But we trimmed them thoroughly." 

"^"0, dear friends, we were not "a 
couple of other fellows." I was play- 
ing in "The Slim Princess" and the Elsie 
Janis Ball Team was made up of mem- 
bers of my company. Mr. Connolly 
was with Sothern and Marlowe. It all 
came back to me. I remembered how 
our team were bragging about what 
they were going to do to the Sothern 
and Marlowe bunch. That gang of 
long-haired legits was going to bite the 
dust of one of Chicago's better ball 
fields. They forgot that it was Shake- 
speare who said, "The play's the thing"! 
In that ball game they proved the Bard 
of Avon enthusiasts knew about "hits 
and runs" on the diamond as well as 
in the theater. Connolly claims that 
my gang ran into some pro-substitutes. 
Well, I wasn't playing and he was, so 
I couldn't argue. 

I wouldn't argue with him anyway, 
because they tell me that during those 
many months at Columbia he won all 
his objectives, which causes me to admit 
I'm wrong again. He can't be anything 
like "just a nice plain sort of family 
man." He must be just a nice plain 
sort of Phenomenon! 



Just Let Me Act 

{Continued from page 6) 



became panic-stricken and, crouching 
down, pulled my coat up over my face 
and head, refusing to get out. An of- 
ficial notified me it was a rule of the 
airport that all passengers leave a plane 
while it is being refueled. 'It's also a 
rule,' I reminded him, 'that an airport 
must first be cleared.' So I stayed 
where I was until he had cleared it. 
I'd had all the autograph fans I could 
stand." 

From the memory of that sustained 
onslaught Miss Harding turned to the 
solace of a cigarette before indulgently 
resuming : 

"The pity is that millions live 



vicariously, through the lives of others, 
in their adventures, emotions and 
imaginations. Not that we don't value 
intelligent appreciation, prize it dearly. 
When an actor gets a letter, as occa- 
sionally he does, offering helpful sug- 
gestions about his work, he is so grate- 
ful and so delighted that he will run 
all over the lot reading it to others. I 
know how much a letter means to me." 

"To be true to yourself?" 

"Yes, just that," agreed Miss Harding, 

"for it helps me to see the faults in 

my work and perhaps to correct them. 

But you cannot, and should not, of 

{Please turn to page 60) 



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The New Movie Magazine, March, 1935 



59 





2>. 



f^KIDDIES' COLDS 



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Just Let Me Act 



course, be just yourself in playing a 
character. There is an ecstasy about 
action in which you cease to be your- 
self, but the illusion cannot be sus- 
tained — the miracle of actually being 
someone else — in the making of a mo- 
tion picture for the reason that its 
action is necessarily broken up. You 
can do it only in flashes, and as a rule 
these are not sufficient, do not come to 
you frequently enough, to constitute 
a great performance throughout. To be 
sure, there are exceptions. When you 
have been given the completed script 
beforehand and have had time to think 
out your part from beginning to end, 
you may achieve the maximum of char- 
acterization, but often you get a bit at 
a time, making it necessary to do it 
at a moment's notice. 

''And all the time the camera is 
there waiting to catch your limitations. 
Somehow it knows, gets inside you. 
divulges your real self. The machine 
reads just what you are and puts you 
down in black and white. Acting for 
the camera is a series of frustrations — 
that is, for what I call acting. It re- 
lentlessly exposes all your weaknesses. 
This goes all down the line, even to 
limited vocal range, and the machine, 
perhaps more than the actor, has its 
limitations. For example, it can't take 
the edge of your anger — like this." 

Her eyes blazing, she sprang to her 
feet like a loosed fury and burst into 
such a sudden, crashing thunder of rage 
that I almost jumped out of my chair, 
not to mention my skin. 

"No, it can't be done," she calmly 
assured me, safely seated again. "You 
have to know how to imply anger." 

That was all right with me. 

"You can't take out of yourself all 
you have to give," Miss Harding now 
was saying, to my great relief. "It 
takes me two hours to become a hu- 
man being after I get home from the 
studio. Screen acting requires far 
more technical knowledge than stage 
acting. Helen Hayes is the greatest 
actress on the screen or stage today, 
but she is bound to be greater on the 
stage because there she hasn't any of 
the restrictions of machinery. I'm 
using her as an example, though I think 
it's true of all of us." 

There was a knock at the door. A 
prop boy came in with a plate of fruit- 
cake, saying Miss Hayes had sent it 
over and that she had baked it herself. 
Fair enough, after the plum Ann had 
just handed Helen! 

Eating didn't interfere with talking, 
so when I asked Miss Harding if she 
herself preferred the stage to the 
screen she said: 

"No, I do not. This medium fasci- 
nates me. But I think its possibilities 
have not been touched yet. In it. you 
now have to serve an apprenticeship 
of drudgery, going through the mis- 
takes others have made, before you 
can begin to correct any of your own. 
At last I'm approaching a goal I thought 
I might reach last year. But it's only 
now that I've reached a sufficient flow- 
ering of freedom to command some 
respect and get people to listen to me. 
For a long time I've been interested 
in creating a form that will work a 
change in the making of pictures. At 
any rate. I hope it will be a step in 
that direction. It has to do with 
three-dimensional photography and a 



brand new type of color picture." 

"Then you're through with the 
stage?" 

"I don't like the bright lights and I 
wouldn't go back to the commercial 
theater," she declared. "So far as the 
New York stage is concerned, it has 
come to mean nothing but dollars to 
me. I don't owe any allegiance to it. 
But I do owe everything to the little 
theater, and I want to go back to the 
Hedgerow Theater, just outside Philadel- 
phia, whenever I can get time off, doing 
a play when I'm not busy doing a 
picture. I was so ill in the New York 
theater I doubt if I could carry through 
the long run of a play even if I wanted 
to, and I don't. I had to give up play- 
ing in "The Trial of Mary Dugan" the 
second year of its run. The only place 
where I was completely happy was the 
little theater, just as the only reason 
for putting on a play is because you 
love it. I don't want wealth, but 
security." 

"Is that all," I was incredulous 
enough to ask, "that most women 
want?" 

"I don't know," she admitted with 
a sly smile, "but there's not a woman 
in the world who doesn't want security." 

Any time you think you can catch 
Ann Harding, you can't. And what she 
had said was true enough. But could 
she be true to herself playing a woman 
like Vergie Winters, who gives up not 
only wealth but her own child? 

"Why not?" she straightway de- 
manded. "I loved Vergie. She broke 
my heart. What she did was done for 
her child's sake, to give it everything 
possible, to place it on its father's 
social scale, not keep it on her own. 
She herself didn't suffer at all, for she 
had just what she wanted — the man 
she loved. Most women have a very 
possessive love, squeezing dry what 
they have. But Vergie wanted to give, 
not receive. There's the kind of wo- 
man who is the mother of men. not 
merely the mother of a child. Vergie 
gave her man everything, not only her 
life and then her child, but his career 
and whatever happiness he had known. 
Playing her I felt, for once at least, 
that I could be true to myself, for 
Vergie is the most beautiful character 
I've ever played in pictures." 

Feeling that so fine and serious an 
actress must have chosen acting from 
a serious motive, I was astonished when 
she gaily exclaimed: 

"I did it for a lark! After leaving 
the army post where I lived with my 
father, because I saw nothing ahead 
of me but marrying a second lieutenant, 
I went to New York and got a job 
as reader with a motion picture com- 
pany. Then I wanted a change from 
office, subway and boarding house, felt 
the need of kicking over the traces 
and doing something wild and woolly 
and full of fleas, so I went down to 
Greenwich Village and carried a spear 
at the Provincetown Theater. I didn't 
think it would last more than two weeks 
but — well, here I am!" 

"How long have you been in pic- 
tures?" 

"Five years." 

"And how long do you plan to stay 
in them?" 

"As long as this face lasts," she 
laughingly replied, giving it a playful 
punch. 



Your hands express your personality. If you want to know what yours 

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HANDS AND PERSONALITY 



60 



The Neiv Movie Magazine, March, 1935 



Bette Davis from 
New England 



(Continued from page 44 j 



of the night, there they were. — the pink 
and luminous elephants. And though he 
knew there wasn't any reason to be see- 
ing them — there they were. He decided 
to ignore them. They simply couldn't 
exist. And in ignoring them, he spoiled 
a great joke. Next morning, he saun- 
tered up to Bette and said, "Listen, 
Davis, wait till I've earned the noctur- 
nal D. T.'s" . . . and Bette, properly 
crushed but still inventive, pulled out 
the little orchestra. 

Bette and Ham share those domestic 
kicks under the table that are a true 
barometer of a companionable and in- 
timate coupling of thoughts. They 
scold and laugh and weep together . . . 
if they feel so inclined, and Ham and 
Bette are like, — well, like ham and 
eggs, — they somehow just seem to "fit 
in" together. A lifted eye-brow tells an 
untold tale — a wide grin holds a joke 
unshared with any living creature, a sud- 
den cough means, in their secret par- 
lance, "thumbs down." Ham's name is 
really Nelson and Nelson was. so his- 
tory has it, the one-armed hero of Tra- 
falgar. Our Nelson may have both his 
arms, but he is, none the less, the Iron 
Man of his household. When he says 
"yes," it's yes. When he says "No," — 
well, that often depends on Bette! 

Bette is the world's most devoted big 
sister. Her truly beautiful young sister, 
Bobbe, has been seriously ill for the 
past year and Bette has cared for her 
most tenderly. Bobbe, better now, 
bless her independent heart, in an at- 
tempt to "make up" to Bette for all 
she's done, has sent her several inter- 
esting maps of Hollywood and its en- 
virons, sewed in colored threads on a 
sail-cloth background. She has started 
a veritable fad in this old town. If 
Bobbe cared to, she could make a pleas- 
ant living with her maps. They'll be 
worth a lot some day, — more, I think, 
than the samplers our grandmothers 
used to make as girls, because they are 
so infinitely more amusing. Bobbie, in 
her own way, is as talented as Bette. A 
little less sure of herself from a com- 
mercial standpoint, but I still feel that 
she'll accomplish a great deal one of 
these days. And, as for Ruthie — mother 
of all swell mothers — she'll doubtless 
have the job of seeing both of her girls 
riding the crest of the wave, because she 
has "builded well." Ruthie is a non- 
possessive mother. As a matter of fact. 
she doesn't intrude her maternity on her 
daughters at all. She's far more like 
a grown sister who cheers the younger 
ones on to fulfillment, with the dreams 
of her own aspirations still lingering in 
her eyes. She's the best friend in the 
world to have and the most implacable 
enemy. The whole family, Bette and 
Ham and Bobbe and Ruthie, seem to 
have a soldier's agreement to stand 
shoulder to shoulder, come fire, flood or 
famine! 

Bette is no angel of heavenly disposi- 
tion. She has a flaring temper and 
often quick petulance that blossoms, 
nine times out of ten, into those famous 
roars of laughter that are noisy enough 
to wake the dead. She can't manage to 
stay mad a moment, once you've been 
able to conjure up those shouts of 
whole-souled laughter. She's no lady of 
exotic subtleties, she's herself — laugh 
and all. She fights anyone's and every- 
one's battles. She gets sputteringly in- 
dignant at injustice and will take on an 
army in hand-to-hand combat. 

Bette has a good deal of vision and 
courage. She can stand afar off and 



lake stock of herself and when she 
thinks she needs a good "redding up" 
Bette can get to work on Bette as though 
she were someone else entirely. She 
plans the changes she has made in her- 
self, entirely without suggestions from 
anyone, but she refuses to experiment. 
She's sure of the effect she wants to 
achieve before she starts. But. and 
this is a most important but. she's never 
satisfied with her work. She feels if she 
had Mildred, the little cockney wait- 
ress in "Bondage," to do over again. 
there are a hundred and one improve- 
ments she could make in her characteri- 
zation. She thinks she did as well as she 
could have at the time, but knows that 
now she could do a better job. That's 
why Bette will continue to grow artis- 
tically — she's eager to learn, willing to 
work, and never, never satisfied. 

She is often, and easily, misquoted, 
because she thinks so rapidly that, by 
the time you've caught up with her, 
your mental notes are sadly garbled. 
She is so out-and-out frank that she 
often gives people the wrong impression. 
Only her friends are capable of judging 
her. They alone can know and appre- 
ciate Bette. 

One of the first parts Bette ever 
played was with my husband, Wallace 
Ford, in a special engagement of 
"Broadway," in Rochester, N. Y. As I 
recall, she hopped into the part of Pearl 
when the tempestuous lass then playing 
it suffered a semi-sprained ankle just 
before the second-act curtain. Bette 
the Brave, the light of battles shining 
in her eyes, did as neat a show-saving 
job as I ever hope to see. She played it 
so well that when the pseudo-sprained 
ankle miraculously healed after the 
matinee. Bette stayed on in the part. 
Before this Bette trained as a classical 
dancer, no less! From then on, she 
left terpsichore to struggle on without 
her, and turned to the sister aft. 

BETTE reads all her own fan-mail and 
answers the greater part of it herself. 
It's a goodly task, I might add. because 
I've helped her with it. She saves and 
re-reads letters of honest and construc- 
tive criticism. She's artistically ambi- 
tious to a startling degree. If ever a girl 
loved and respected her work, that girl 
is Bette Davis. That's the reason for 
her occasional tiffs with her studio. She 
feels that once she'd made a definite 
step ahead, she should be permitted to 
retain the ground she's won. and not 
be forced to slide back into stereotyped 
roles. She's not afraid of hard work, 
but she is afraid of bad parts. 

To change the subject abruptly, Bette 
and I waited on table at the Assistance 
League two weeks ago. When you wait 
on table at the League, you're a Junior 
Leaguer, a sub-deb or a Somewhat Im- 
portant Person. We waited on table — 
I, being none of the above — I'm used 
to it. But Bette to all intents and pur- 
poses a veritable beginner was fully ex- 
pected to cave in under the strain. But 
she took to it like the proverbial duck 
to water. Everyone waited on. and in. 
the side-lines did a thorough-going gasD- 
ing job, but Bette didn't let them floun- 
der in admiration long. ''For one solid 
mortal year." she stated flatly. "I waited 
table to earn my way through school, 
and I was a he — ck of a good waitress. 
I ought to be good. . . !" 

And there is Bette Davis . . . my 
friend and your particular joy in life 
. . . and the best and smartest blonde in 
all the world, synthetic or otherwise! 




am&t are 

NATURALLY 
CAUTIOUS 

(GOOD FOR THEM 
THAT THEY ARE) 



CAUTION is strong in woman. It has 
grown strong through her instinct 
to protect her home. In most households, 
she willingly takes upon herself the final 
responsibility for the well-being of the 
family. She is adept in stripping facts 
from fancies. Weighing values. Making 
right decisions. 

Why, then, are women in so confused 
a state about a matter of such import- 
ance as their own personal, intimate 
hygiene? If you know the history of 
feminine hygiene, you can readily under- 
stand. Older women keep talking to the 
younger about feminine hygiene as it 
used to be practiced — before the days 
of Zonite. 



NOW I CA, 

GIVE MY 

APPROVA 



Only a few short years ago, grave dis- 
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patient about the -proper antiseptic for 
feminine hygiene. The only antiseptics 
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enough for the purpose, were caustic 
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not and he would not advise her to use 
those poisons on sensitive tissues. 

But Zonite is not poisonous. Zonite is 
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This remarkable modern antiseptic- 
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ly applied to the human body. 





MMA IN MY 
JUY DAYS 



Women no longer need make the choice 
between poisonous antiseptics or nothing 
at all for feminine hygiene. They can all 
get Zonite now — Zonite, the only non- 
poisonous antiseptic comparable in 
strength to the caustic poisons. 

Zonite is famous all over this coun- 
try as the powerful non-poisonous anti- 
septic. You can get it at your own drug 
store, even if you live in the smallest 
village. It comes in bottles: 30e\ 60c' 
and $1.00. 





Ask your druggist, too, about Zonite 
Suppositories. They have the same anti- 
septic principle as liquid Zonite in a 
semi-solid form. Each pure, white and 
greaseless Suppository is sealed in its 
own glass vial. In boxes of a dozen: 
SI. 00. Some women use both forms. 



SET ME 
STRAIGHT 



Why don't you send right away, today, 
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Just mail the coupon below. Women 
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The New Movie Magazine, March, 1935 



61 



Gay TABLE 

Dishes ...yet 




you can bake 
in them 



.OU never saw table dishes 
like these Oven Serve dishes 
before. Every last piece. . .the 
serving dishes, platters, bowls, 
the smart one -handled French 
casseroles, even the very cups, 
saucers and plates ... is built to 
stand oven heat. Their pretty 
ivory color and green floral de- 
sign stay bright and fresh, 
too. They don't "craze," nor 
get brown and cooked looking. 

You can oven -bake in Oven- 
Serve dishes and pop them di- 
rect from oven to table. Sim- 
plifies serving. And oh, how it 
cuts down on the dishwashing ! 

Another use is in the refriger- 
ator. They stand cold as well 
as they do heat. 

You can buy them by the 
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You Tell Us 

(Continued from page 46) 

Blues Chaser 

I have just seen a picture that will 
live in my memory forever. It is "Imi- 
tation of Life." Claudette Colbert is 
grand. She is the best and most talented 
actress on the screen today. The role 
she played in "Imitation of Life" is 
just what she does best. Let's have more 
pictures like this one and let's see more 
of Claudette Colbert. She is a sure 
cure for your blues. — Mrs. Virginia 
Gerbig, 39 W. McMillan, Cincinnati, 
Ohio. Watch for her in "The Gilded 
Lily." 

Thanks to Color 

May I express my children's appreci- 
ation (as well as my own) for that 
colorful fantasy bit in "Kid Millions." 
It is a delight unparalleled in the re- 
cent movie panorama. 

"La Cucaracha" and the ending of 
"The Cat and the Fiddle" also add 
strength to the almost forgotten fact 
that color is an unlimited asset to the 
movies. How well I recall the richness of 
Douglas Fairbanks' colorful "Thief of 
Bagdad" many years ago. — Mrs. C. 
Paley, 112 Monroe Street, New York, 
N. Y. It is rumored that all pictures 
will be produced in color soon, Mrs. 
Paley. 

The New New Movie 

I have just purchased your January 
New Movie and I want to congratulate 
you on its size and contents. The' size is 
wonderful. You must keep it up. First, 
it is good looking. Second, it is different. 
Third, it is much easier to read. Fourth, 
it outshines every other movie magazine 
in looks and information. It is an ex- 
tremely unique and attention-attracting 
idea. Another thing — you feel as if you 
were getting so much for your money 
(and so you are). I congratulate you. 
— Jean Rearick, Middlesex Road, New- 
ton Heights, Conn. Thank you, Jean. 

Complaint 

Scanning the "You Tell Us" column 
of New Movie from July to Decem- 
ber I was perplexed not to find mention 
of Robert Donat. I considered it an 
injustice for I thought many observing 
persons would sing "cum laude." So to 
appease myself I will say I truly think 
his "Count of Monte Cristo," is a 
superlative picture. The story by 
Dumas is full of marvelous adventure 
and excitement; and the acting is done 
in such pure sincerity by Mr. Donat, 
that it adds greater zest to the story. 

Honors go also to Elissa Landi, who 
in her own inimitable way is lovely. 

Hail and crown with laurels, these two 
people; who bring themselves to offer 
their best on the screen. — L. M. Volage, 
100 Bruen Street, Newark, N. J. We 
ran a good story on him in the August 
issue! 

Charm Personified 

After seeing Irene Dunne in "Age 
of Innocence" I came away feeling 
about this unusually capable and lovely 
actress just as I always do when I am 
fortunate enough to see one of her pic- 
tures. I feel that the simple five-letter 
word, "c-h-a-r-m" is hers to a greater 
degree than any other actress I can 
think of; indeed, if a young person 
asked me just what charm means, I'd 
advise her to see Irene Dunne and 
learn all about a quality more important 
to the fair sex than mere beauty. There 
are, I'll admit, several movie stars who 
are more glamorously beautiful to look 
upon than is Irene Dunne — but she is 
more than lovely of face because her 
good looks plus charm spell much more 



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than skin-deep beauty to — Mrs. Robert 
Stone, Jr., 67 35th Street, Brooklyn, 
N. Y. And Irene's no ugly duckling 
either, Mrs. Stone. 

No Changes Wanted 

After seeing "The Count of Monte 
Cristo" the old question popped into 
my mind. Why do the Hollywood pro- 
ducers always change their stories? If 
they must, they should do it to the 
poplar fiction, but leave great classics 
stand untouched. It is the story that 
made them classics, and besides, when 
they are changed, it is always for the 
worse. 

However, I enjoyed the picture very 
much, and thought the acting and 
directing was done to perfection. — Mrs. 
Charles Ross, 500 West End Avenue, 
New York, N. Y. It is hard to confine 
the action of a long story into a few 
short reels, Mrs. Ross. The best writing 
and directing talent that can be pro- 
cured are engaged for this work. And 
it is generally good, don't you think? 

And a Suggestion 

Just received a copy of the January 
number and I see New Movie has 
grown in size. Please let me congratu- 
late you. The new make-up certainly is 
in line with your efforts to continue to 
make New Movie a better magazine. 

You ask for constructive criticism, so 
I will offer a suggestion that may make 
the magazine even more helpful to us 
movie fans. I would like to see you 
create a "Near Great" column and 
under that heading carry photographs 
and write-ups of those actors and ac- 
tresses we see very often but seldom 
read about. 

I hope you can bring this about as 
there are so many such actors I would 
like to read about; the butlers, who 
are they? I am sure some of these 
characters are old stage actors and ac- 
tresses who have a very interesting 
story of their trouping days, which 
would probably be even more interest- . 
ing reading than the present every-day 
life of some of the so called stars. 

So I leave this suggestion with you 
hoping that it will be in line with 
similar requests from your readers, 
knowing that if enough letters are re- 
ceived on any idea, you might en- 
deavor to incorporate the suggestions 
so that your magazine will continue to 
be the best of its kind on the stands. — 
Alfred A. Simon, 3419 Giles Avenue, 
St. Louis, Mo. That's good criticism, 
Alfred. 

Movie Mistake 

I suppose it takes a super-crab to 
find a fault in "The Barretts of Wim- 
pole Street." I had to look close but 
I did spy this: In one of the scenes 
about the sofa, Flush was lying with 
head on Ba's lap, the picture of amiable 
doggishness. A split second later he 
was sitting rigidly upright behind his 
mistress, staring solemnly in an op- 
posite direction. This is an instance of 
that occasional jarring note in a pic- 
ture when apparently a re-take has been 
substituted for some fragment of the 
original filming. — Mrs. Florence D. Mc- 
Kinlay, 9709 47th Avenue, S. W. Seattle, 
Washington. But wasn't it a swell pic- 
ture anyway? 

Too Many "Sobbies"? 

I'm aware that pictures run in 
cycles but can't something be done 
about it? 

Because we loved "Little Women" the 
producers give us one "heart throb" 
after another — for example — "Girl of 
the Limberlost" played here recently 
and directly across the street was "Anne 
of Green Gables." Suppose some one 
will ask "why does she go to see them — 



62 



The Neiv Movie Magazine, March, 1935 



You Tell Us 



it's not compulsory." And here's my 
answer. We've only five theaters here, 
three of them are "first run" only 
— so I've not much choice — I average 
five shows a week. 

"Variety is the spice of life" you 
know — and we don't want to weep all 
the time. — Mrs. Bessie Toles, 514 N. 
Nevada Avenue, Colorado Springs, 
Colo. The movie kings try to give you 
what you want, Mrs. Toles. 

Maybe — Not So Dumb? 

Why does Hepburn act so silly? She 
claims she wants her private life and 
actions kept from the public. In order 
to avoid photographers and interviewers 
she does unladylike and childish things, 
which bring her more publicity than 
if she acted like a lady. This sitting 
down on curbs and streets to read her 
fan mail, and wearing disreputable 
overalls, climbing over seats, and crawl- 
ing under edges of the tents! You 
can't tell me that didn't draw atten- 
tion, but she goes right on "trying to 
make herself obscure." — Jeanette An- 
dersen, 1915 Hammond Avenue, Super- 
ior, Wisconsin. But again, maybe she is 
sincere, Jeanette. 

A New Friend 

While looking through some papers 
and magazines a good friend of mine 
sent me, was indeed lucky to find a 
New Movee among them. 

Until then, I was unaware that such 
an ideal and up-to-date magazine 
existed. It's great fun in reading every 
page of it. In fact I read it over twice. 
From now on I'm a New Movie fan. 

Now for some stars and good pic- 
tures. Some of you kind readers will 
agree with me, I'm sure. 

So let's please have some more Har- 
low, Gaynor, and Farrell pictures. 

Hats off to these fine stars of Holly- 
wood and filmdom! 

We need stars like these for good and 
better pictures. 

Here's to them and here's also to 
New Movie. — Mrs. Alphonse R. 
Harles, R. No. 2, Fergus Falls, 
Minn. Thanks, Mrs. Harles, we 
hope to be able to please you al- 
ways. 

A Challenge to You All 

Perhaps I'm being too frank but I 
must have my "say" particularly about 
these same old worn out stars. They 
have had their day; why not give up as 
they should to those much more worthy? 

I'm so disgusted with the ridiculous- 
ly affected Bennett, Shearer, Crawford, 
Davies, Garbo and innumerable others 
just as obnoxious not forgetting No- 
varro, Colman and others of the same 
class. 

I don't mean "new faces" merely 
but a place for real genius, glamorous 
and alluring personalities, perhaps only 
one or maybe three or four. — Mrs. 
Dorothy Johnson, 851 N. State Street. 
Chicago, 111. You've a right to your 
opinion, Mrs. Johnson, but wait till you 
see what others say when they read 
this. 

Phooey on Us! 

I've read your unique column in 
New Movie regularly, and now — alas! 
— Henry Willson, you've insulted me. 
In the December issue, you let some 
of the Hollywood young people edit 
your column, but nary a word was said 
about editing it to suit the fans, or 
asking them to help you! Whom do 
you write for, huh? 

For several years I've carried a choice 
bunch of chips on both shoulders, be- 



cause these darn editors won't run 
their magazines to suit me. They West 
me, Garbo me, and Crawford me until 
I have bad dreams about glamour every 
night. 

The reason I like your column is be- 
cause it tells about the Hollywood 
youngsters who haven't already had 
their five pasts retold in seven lan- 
guages. Shakespeare and Willson never 
repeat. 

But listen! If you love your dear 
public, please carry your good work 
still farther. Tell us about the almost- 
unknown beginners. Tell us about how 
they are fighting for notice, and what 
bits we may see them play. Tell us 
who they are, where they come from. 

I'm always picking out bit players I 
like, but I can't find out who they are, 
nor where to reach them. Magazines 
won't publish the letters I write about 
them though they publish any drivel I 
may care to write about the big-name 
stars. It seems to be a conspiracy. 

Has no one discovered any Wampas 
stars in Hollywood except Jacqueline 
Wells? I'll admit she's plenty beauti- 
ful, but there are others. Ann Hovey 
looked mighty sweet to me, even in the 
brief flash in "Kiss and Make Up." 
Gigi Parish is delightful. 

Why don't you give us and them a 
break by dashing out to interview 
them? Doubless you, who are on the 
inside, could discover others whose 
names and addresses have been care- 
fully obscured from the public. 

Please don't be among those "snifty" 
screen writers. Give at least one article 
to promising unknowns, and near-un- 
knowns. — Mrs. R. L. Price, Midlothian, 
111. Whoo! — Are we mortified? But 
here's your letter, which is something. 

This is the Place 

Give the American public a chance 
to speak for itself. 

Good pictures are being ruined be- 
tween the present movie clean-up drive 
and the censors. 

No one goes to a movie unless he 
wants to. 

We went to see them before this 
present movie clean-up drive started 
and liked them! 

Let us pick what we want instead 
of what a few people, who are still back 
in the 18th century think we should 
have. E. E. Perry, 57 Buell Street, Bur- 
lington, Vt. In this department we give 
each and every one of you a chance to 
make your preferences known. And don't 
forget, the producers read this column 
carefidly each month just to find what 
you are thinking. 

Fed Up— But Not with Bela 

After having recently seen Bela 
Lugosi give a very fine performance in 
"The Black Cat" I wonder why it is 
that we are not allowed more oppor- 
tunities of seeing this actor. Why is 
it that the studios give one star too 
many pictures until the movie-going 
public gets fed-up with seeing him or 
her, and allow another actor who could 
be just as successful, if not better, to 
fade away into obscurity by giving 
them nothing but a mediocre role now 
and then. Don't the studios believe that 
variety is the spice of life? 

I believe that many other people be- 
sides myself would enjoy seeing more 
of Bela Lugosi. He is the type of 
actor who helps to make just an ordi- 
nary picture good because of his pres- 
ence in it, and a good picture excellent. 
— Adriana Leynaar, 6210 Patterson 
Avenue. Chicago, 111. Watch for him 
next in "The Return of the Terror." 




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The New Movie Magazine, March, 1935 



63 




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On-the-Set 
Reviews 

(Continued from page 33) 

''You bet!" Scotty hugged her. 
"You do that for me and then we play 
Eskimo!" 

After the take, Baby Jane ran to her 
adored director held up her little face 
and the two of them rubbed noses like 
everything! Really, a very touching 
little scene! 

Doris Anderson wrote the story of 
political intrigue, in which gubernatorial 
candidates are the helpless victims of 
Baby Jane's inexplicable impulse to call 
every man "Daddy!" 

When she pulls the "Daddy" business 
on Roger Pryor's political opponent, 
Roger makes the most of the situation, 
plugging the idea that the man's morals 
are not up to snuff. But, just as it 
begins to look as though the election 
were in the bag, little Janie turns around 
and adopts Roger! 

*Mary Astor takes care of the love 
interest in her usual capable manner, 
while Andy Devine grabs off comedy 
honors. 

And, if that cunning baby doesn't 
give Shirley Temple a run for her 
money, we'll push a peanut up the 
Boulevard with our nose! 

RHUMBA Carole Lombard 

• and George Raft 

PARAMOUNT might be called run- 
ner-uppers for the 
season's dancing honors. At any rate, the 
way these two tackle the tricky routine 
of the popular rhumba is what Aunt 
Effie would call "a caution!" 

On the set, Carole and Raft were 
taking instructions from a pair of bona- 
fide Cubans, especially imported by 
Paramount to execute the complicated 
terpsichore as it should be executed. 

The youthful Cubans are brother and 
sister, and not more than 17 and 13 
years old, respectively. But, boy! do 
they know their gyrations! 

As the two of them worked them- 
selves into a frenzy of acrobatics, Miss 
Lombard suddenly let out a shriek of 
merriment. 

"Imagine me . . . doing that?" she 
nowled. But you needn't try to imag- 
ine it. You'll see the graceful lady really 
doing it. And a neat job. too. In fact. 
Carole worked so hard at the strenuous 
job that, at the end of the first day, a 
chiropodist had to be called in to do 
his stuff before the lady could navigate 
the distance from set to dressing-room! 

The story, by Guy Endore, tells of a 
beautiful society girl who falls, hook, 
line and sinker, for a handsome dancing 
man, in a Havana night spot. The 
h.d.m. is, of course, Mr. Raft. He 
loves her, too, even enough to teach 
her the rhumba. But, when he sees that 
her family is about to disinherit her 
for associating with a "common enter- 
tainer," he does the right thing and 
breaks up the romance. 

To forget, George keeps a date with 
J. Barleycorn, snapping out of his pro- 
gressive "stew" only when he learns 
that Carole has broken her engagement 
to the man of her family's choice. 

Dashing to New York, Raft finds a 
dancing engagement ready for him to 
sign, in which he will have a gala pre- 
miere at the Frolics. 

The night of the opening, Margo, his 
partner, gets cold feet. And anybody- 
knows that you can't do the rhumba 
with cold feet. So, Carole steps into 
the breach, the two of them put on a 
dance that fairly tears the house down, 
and . . . the rest we can leave to your 
imagination. 

Marion Gering directs. 



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Well, just to be 
different, Connie 
Bennett, wealthy so- 
cialite, gets herself a 
job as reporter on a New York paper. 
And, because she can't take it, the man- 
aging editor, Clark Gable, fires her the 
very first day. 

But, when Clark sees his one-day 
employe trailing around with Harvey 
Stevens, society playboy, who is ru- 
mored to be the third angle in a society 
divorce, he figures it might be smart to 
recall Connie and give her a chance at 
breaking the nifty scandal. 

La Bennett resents the implication 
that she would be so low as to squeal 
on her brothers and sisters in crime, 
and, to put Clark in his place, goes with 
Stevens to his boat-house. 

Stevens' girl friend, the prospective 
divorcee, tags along, and, when Harvey 
gives her a push to discourage her, 
cracks her foolish head against the boat- 
house. 

Scared to death, Stevens hustles Con- 
nie back to town, disposes of the body 
and figures he's all set, until Gable pulls 
a fast one, shows the boy up and cuts 
for home, with the acquiescent Connie 
tucked under his strong right arm. 

With Stu Erwin, Henry Armetta, 
Katherine Alexander and Billie Burke in 
the cast, it is a good show. 

With the capable direction of Bob 
Leonard, we might name this as one of 
the Ten Best Bets of the month. 



MYSTERY OF 



L. 



J 



Since his un- 
deniable success 
EDWIN DROOD in « The Man 

.MVFKSV. Who Reclaimed 

His Head, 
Claude Rains seems to have "typed" 
himself as a dispenser of horror. But, 
as Mary Livingstone says, somebody's 
got to do it; and what better foil for 
the Charles Dickens type of creepy 
mystery than Mr. Rains? 

Here is a tale of a Tekyll-and-Hyde 
choirmaster, who, after cathedral hours, 
turns fiend because of his love for the 
girl who is engaged to his nephew. 

It so happens that, while the two 
youngsters (David Manners and Heather 
Angel) have a deep affection for each 
other, she is in love with Douglass 
Montgomery, while Manners loves 
Doug's sister, Valerie Hobson. 

In the cathedral garden, Heather and 
David confess their true feelings and, 
in relief that the plans for their ill- 
matched marriage need not be carried 
out, they impulsively rush into each 
other's arms for the first really heart- 
felt kiss that they have ever ex- 
changed. 

Unfortunately, Rains walks on the 
scene just in time to see the embrace. 
And, next day, Drood is among the 
missing. 

And, right here, Universal says: 
"What happened to Drood will not be 
revealed until the picture is completed 
and on the screen. Whether he ran 
away, was murdered or kidnaped, or 
who might have had anything to do 
with his disappearance, is the mystery 
that Dickens left unsolved when he 
died " 

A solution has been worked out for 
the picture, but Director Stuart Walker, 
whom we pinned to the wall, won't tell ! 
So until "The Mystery of Edwin 
Drood" hits the screen, that's all it can 
be to you . . . and you . . . and me. 
Just a mystery. 



MISSISSIPPI 



There was a poker 

game aboard the 

show boat, with the 

hilarious W. L. 

Fields on the business end of a "cold" 

deck. 

"I'll bet a stack," says the southern 
i gentleman at Fields' left. 



64 



The Neiv Movie Magazine, March, 1935 



On-the-Set Reviews 



"I'll stay," says the next chap, push- 
ing in a stack. 

"Me, too." The third man adds his 
chips to the pile on the table. 

"Hm-mm-mm" — that's W. C. "'Sorry, 
boys — I'll have to bump that one stack." 

And so it goes around. With four 
aces in his hand. Fields draws one card. 
It's another ace! What to do about it? 

Pointing up the hatch, he yells: 
'"Hey! What's you tryin' to do up 
there? Kill each other?" And, when 
the other players turn to see what's 
going on, he rlips his extra ace over his 
shoulder and grabs another card from 
the deck. But, alas! that, too, is an 
ace. And so it goes, with more chuckles 
per minute than you can easily handle. 

Even Eddie Sutherland, the director, 
gave up trying to control his chuckles, 
as Fields ad libbed and kept the entire 
crew in bursts of smothered merriment. 

It's Booth Tarkington's story of an 
old-fashioned show boat working its way 
along the Mississippi and playing one- 
night stands at every stop. 

Fields is the captain, and, at one of 
their stops, the entire company is in- 
vited to entertain at the engagement 
party of Bing Crosby and Gail Patrick. 

During the course of the evening one 
of the guests gets excited and challenges 
Bing to a duel. When Bing declines the 
honor, Gail orders him out of the house, 
calling him a coward and other uncom- 
plimentary names. 

Joan Bennett, Gail's kid sister, fol- 
lows Bing and tells him that she thinks 
he did the right thing. "Duels are so 
silly," she sighs. 

That night, Bing joins the show-boat 
company and they steam off down the 
river, with Fields telling everyone that 
our pet crooner is a tough guy ... a 
killer . . . and what-not. 

Bing doesn't mind at first, but when 
Joan denounces him he decides he really 
will get tough! And from there on it's 
a picnic! 

With a cast like this and a director 
like Sutherland, we've got to mention 
this among the Ten Best for the month. 



AMBULANCE 
CALL 



"White Parade" 
certainly dragged a 
lot of good hospital 
-.. J^ — stories off the shelf, 

and aren t you glad? 

Chester Morris, wearing his best bed- 
side manner, takes the lead as head in- 
terne in a hospital, and when he oper- 
ates on a practically dying lad, against 
the boy's father's wishes, he is uncere- 
moniously fired out of the place, re- 
gardless of the fact that he has saved 
the boy's life. 

Billie Burke, a wealthy neurotic, has 
taken quite a shine to Morris and 
threatens to take her business else- 
where unless Chet is reinstated at once. 
She also offers to set our hero up in 
business for himself, and when his best 
girl, Virginia Bruce, announces her en- 
gagement to Robert Taylor, Chefs best 
friend, he decides to take Miss Burke's 
offer. 

But before he can get his forceps, 
biceps and what-have-you out of the 
place, a gangster, who is visiting his sup- 
posedly dying mother, makes a break 
for freedom. In blocking the forward 
pass, Chet is seriously wounded. It 
looks like curtains, with only one 
chance in a million that a delicate op- 
eration will do the trick. 

When Taylor sees that Virginia really 
loves Chet after all, he rolls up his 
sleeves, Virginia rolls in the gas tank, 
and Chet is saved for posterity! 

George Seitz directs this picture, 
taken from the play, "The Harbour," 
bv Theodore Reeves. 



1(1 IGGLES OF 
RED GAP 



If you like to 
laugh, don't fail to 
see this one. If you 

The combination of Mary Boland and 
Charles Ruggles is funny enough, but, 
with Charles Laughton and ZaSu Pitts 
teamed up for romantic interest . . . and 
Roland Young and Maude Eburne hand- 
ing out their own particular brand of 
nonsense . . . and Baby LeRoy tossing 
monkey-shines into the ensemble . . .? 

After making a pile of dough in Red 
Gap, Roland and Ruggles cut for Lon- 
don, determined to go social in a Big 
Way. Enchanted with Charles Laugh- 
ton's butling, they offer him more money 
than he's ever heard of to return to 
Red Gap and act as official door-opener, 
weskit-buttoner-upper, and such like. 

Out in the Golden West, Laughton 
wearies of the butling business, finding 
more charm and adventure in dirty ban- 
danas and high-heeled boots. So the 
austere fellow goes Western with a 
bang and hilarious consequences. 

Most of you must have read the book, 
written by Harry Leon Wilson some 
years ago? Or, perhaps you saw the 
earlier screen version? At any rate, 
we're betting that you'll join me in 
picking this as another of the month's 
Ten Best. 



I MURDERED 
A MAN 



For the custom- 
ers who like the 
unusual in screen 
plots, here is a 

UNIVERSAL unique murder 

mystery that really isn't a mystery at 
all. The audience is permitted to watch 
the fiend perform the dastardly deed 
and then try and shove the blame onto 
an innocent bystander. 

Charles Bickford, a slick attorney, 
hates Sidney Blackmer to pieces be- 
cause Sidney is about to marry Helen 
Vinson, the woman Bickford loves. 

Having successfully alibied guilty 
criminals out of the hoose-gow, Bickford 
figures he can murder his rival, build 
up one of his famous alibis and get away 
with it, jury systems being what they 
are and nothing to worry about if you're 
smart. 

So Blackmer dies, and, after sprink- 
ling Helen's personal effects all over the 
place, Charlie says: "I done it, so help 
me!" which, of course, leads everyone 
to believe that he's merely trying to 
protect the woman in the case. 

It works like a charm, until Onslow 
Stevens, another clever lawyer, gets 
on the case. And how he brings about 
Bickford's downfall makes a highly in- 
teresting picture of this novel story, by 
Colin Clements and Florence Ryerson. 

Eddie Laemmle directs with a keen 
eye to emotional intensity and a crack- 
ing good climax. 

ALL THE This stor y was 

KING'S HORSES originally an 

operetta, Carlo 

Rocca," by Laur- 
PARAMOUNT ence Q J k and 

Max Giersberg, and it tells the story 
of a bored and bearded king, who, after 
relieving himself of his beard, discovers 
that he is the image of a famous movie 
star! 

Probably because of the beard, the 
queen, Mary Ellis, skips out on her 
royal mate, Carl Brisson, making it 
pretty plain that she will not return 
until there have been a few changes 
made. 

With the advent of Brisson, the movie 
actor, H. R. H. decides he could do with 
a little vacation, himself. So, installing 
{Please turn to page 66) 




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The New Movie Magazine, March, 1935 



65 




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On-the-Set 
Reviews 

{Continued from page 65) 

Carl as King for a Day, away he flits 
to pick up a few modern ideas in 
Vienna 

Seeing a picture of her shaven Lord 
in the newspapers, the queen figures that 
maybe she's been wrong, and returns, 
post haste, to the palace to catch up 
on her royal home work. 

Then the fun begins! Carl is on the 
spot. And, while it might be a very 
pleasant "spot" if he'd just relax, still 
the man is a gentleman, in spite of be- 
ing a movie actor, and frantically sends 
an S.O.S. for H.R.H. to return im- 
mediately. 

But, in the meantime, the king has 
been spotted by some theater men, who 
insist that he make personal appear- 
ances, so it's a grand tangle all the way 
around, with Edward Everett Horton 
contributing his usual goodly share of 
the merriment as the king's faithful 
watch dog. 

On our solemn honor not to divulge 
the secret of the trick where-by Brisson 
is able to talk to, and even shake hands 
with himself, Director Frank Tuttle 
allowed us one small peek at the 
photographic phenomenon. 

And, being a lady of our word, you 
can tease all you like ... we still 
won't tell. Not even for an apple! 

THE WINNING Robert Hopkins 

TICKET wrote this story 

of a barber, Leo 
Carrillo, who in- 
vests in a ticket 
on the Irish Sweepstakes and is obliged 
to hide it because his wife, Louise 
Fazenda, would tear him limb from 
limb, if she discovered the colossal 
extravagance. 

Leo hides the ticket in a vase; Louise 
gives the vase to their youngest child 
to play with; the kid discovers the bit 
of pasteboard and slips it into Leo's 
guitar; and, when it comes out that 
his ticket has won the sweepstakes, 
there's a mad scramble to locate it, 
believe you us! 

When Ted Healy, Fazenda's good- 
for-nothing brother makes a crack 
about Leo being plenty dumb, Louise 
grabs the guitar and breaks it over 
Healy's head. And . . . out flies the 
lost ticket! 

For about five minutes, the family is 
in the money. But, by the time the 
Federal Income Tax, the New York 
State Income Tax, and the New York 
Anti-Gambling fine have been deducted, 
there's just about enough of the money 
left for a spaghetti dinner for the" 
crowd ! 

Director Chuck Reisner makes the 
most of the amusing situations in this 
picture. 



- • 
M-G-M 



LIVING ON 
VELVET 

• 
WARNERS 



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Wald and Julius Epstein, gives George 
a rare chance to be himself, coupled 
with a spirit of adventure and dare- 
deviltry that follows closely the man's 
early life, when he carried messages 
across the line at the time of the Irish 
Rebellion. 

While flying his parents and his sister 
to Newport (this is picture), Brent's 
plane crashes in a fog and all are killed 
but him. 




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Embittered by the tragedy, George 
travels the world over, getting into 
scrape after scrape, and always being 
extricated by his one good friend, 
Warren William. 

He falls in love with Kay Francis, 
but upon discovering that she is the 
light of Warren's life, Brent goes on a 
terrific drunk, picks a fight, and lands 
in jail. 

As usual, Warren gets him out, laughs 
off the idea that he, too, loves Kay, 
gives the kids his blessing and waits 
around until he sees them happily 
married. 

But George's reckless nature doesn't 
take kindly to the peace and quiet of 
married life, and, while he loves Kay 
devotedly, still he can't get over his 
wild ways. 

Nursing a hunch that Warren would 
make a better husband for her, Brent 
drives his car into a messy wreck, end- 
ing his bitter life and leaving Kay to 
the tender mercies of his pal. 

The incomparable Frank Borzage di- 
rects. 



ONCE A 



COLUMBIA 



"After one's twen- 
ty-first birthday, 
GENTLEMAN lo % e _ or anythir ^ 

else — should be 
taken seriously!" 

And that speech, by the super-attrac- 
tive Tulio Carminati, is the keynote of 
Bradley King's story of "love on the 
continent." 

Like a busy bee, the fascinating Car- 
minati flits from flower to flower, tak- 
ing nothing seriously and having a 
swell time doing it. Tala Birell thinks 
she has the fickle gentleman pretty well 
in hand until he meets up with Lilian 
Harvey and tumbles out of his well- 
ordered life into nothing short of ro- 
mantic chaos! 

Unwilling to believe that he has really 
fallen, Tulio makes mad love to the 
willing Lilian and then ups and leaves 
her, explaining to her that it is all for 
the best. 

That's until Lilian gets herself en- 
gaged to Hugh Williams, who is Car- 
minati's kid brother. Then our hero 
hauls down his colors, backslides on 
everything he ever said about life being 
a bowl of second-hand ice cubes, and 
the story ends with everybody happy 
— except maybe Hugh, who seems to 
be able to take it like a man, never- 
theless. 

The picture had just gone into pro- 
duction the day we visited the set, and 
there was very little doing. However, 
with that old maestro, Victor Schert- 
zinger, at the directorial bat, it looks as 
though there might be some plain and 
fancy vocalizing by those of the cast 
who are inclined to warble. 

VANESSA More period. More 
• billowy skirts to trip 

M-G-M over. But, with our de- 
lightful Helen Hayes 
doing the honors in antique frills and 
furbelows, well I guess we'll find that 
we'll be able to take this one, too, won't 
we? 

In this Hugh Walpole story, Bob 
Montgomery is a black sheep, who, be- 
cause of ancestral gypsy blood in his 
veins, strays long and often from the 
fold. Even his love for Helen Hayes, 
a forty-second cousin, cannot keep 
his roaming boots under the family 
table. 

After a year's absence, he returns to 
find Helen mad at him. 

A mite piqued, Bob stomps out to 
the village inn, where he proceeds to get 
roaring drunk, waking up in the morning 
to find himself married to the inn- 
keeper's sister. 

To square matters up, Helen takes 
her broken heart down the church aisle 
(Please turn to page 67) 



66 



The New Movie Magazine, March, 1935 



On-the-Set Reviews 



{Continued jrom page 66) 



with Otto Kruger, anothei distant cou- 
sin who is suffering from a mental ail- 
ment. 

It's all very sad, and, after a spell of 
trying to do right by their respective 
mates, Helen and Bob settle down and 
make up for lost time in a cozy cottage 
on the Cumberland estate. 

Just crazy enough to be smart, 
Kruger coaxes his straying bride back 
home, where she dies of pneumonia, 
leaving Bob to carry on, confident in 
the belief that their great love is not 
ending, but just beginning. 

May Robson does her usual beautiful 
job of playing the aged grandmother, 
and William K. Howard directs the 
tragic romance. 

CAPMICE For days, we 

ESPAOOLE hung around the 
• outside of the stage 

PARAMOUNT where Marlene Die- 
trich was giving her 
all, dramatically, for "Svengali" Von 
Sternberg. Here's a tale of a capricious 
Spanish dancer who adagios herself into 
men's hearts, breaks up a flock of happy 
homes, and generally misbehaves her- 
self in a charming and uncensorable 
manner. 

Skippity-hopping along the trail of 
busted hearts, Marlene all of a sudden 
meets up with Caesar Romero, and . . . 
Pop! goes her own emotional generator. 
And serves her right, too. 

Forlornly reviewing her past esca- 
pades, Miss Dietrich sadly renounces 
the one Great Love of her life, feeling 
that she's not good enough for the 
Spanish Big Moment. And, to atone 
further for her past mistakes, she re- 
turns to Lionel Atwill, the man to whom 
she owes plenty. Which isn't so bad, 
either, because Atwill has enough money 
to make it more or less interesting for 
her. 

Dietrich never looked better than 



she does in the colorful Spanish cos- 
tumes, with hair fancifully arranged and 
a three-pound comb perched a-top her 
golden tresses. 

ROBERTA Randolph Scott thinks 

• he is in love with 

RKO another gal, until he 

meets Irene Dunne, a 

princess incognito and head designer in 

his aunt's gown shop. 

When Randy's first romance arrives 
in Paris, all set to pick up the tangled 
threads of a beautiful friendship, Fred 
Astaire, Scott's pal (and a dancing 
band leader) and Miss Dunne rig the 
intruding lady up in a backless, front- 
less creation. Considering the creation 
indecent, our hero breaks, once and for 
all, with the erstwhile girl of his dreams, 
leaving the field clear for his real love, 
Irene. 

Ginger Rogers, an old flame of 
Astaire's, is dancing at the same night 
club where Fred's ensemble is "bluing" 
it, and that, gives the inimitable Mister 
Astaire a swell chance to repeat on his 
hot foot-work which thrilled us all in 
"The Gay Divorcee." 

There is a gorgeous fashion display 
that will probably send more than a few 
husbands and wives home mad at each 
other; and Miss Dunne warbles sweetly 
and pleasingly, as of yore. 

William Seiter, who just can't seem 
to get away long enough to cover 
Niagara Falls with his brand new bride, 
Marian Nixon, directs this successful 
musical play, written by Jerome Kern 
and Otto Harbach. 

We're giving this one four stars, sight 
unseen. 

AND with that, dear patient Public 
we'll hop off the merry-go-round, 
peek at a few coming productions, and 
be back next month to tell you all 
about it. 



With the aid